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On 19th August at 2PM BST, Ed Sheeran will announce his brand new album ‘=’ alongside an album pre-order. 14 tracks in length, the album will be released on 29th October 2021.

Ed Sheeran is an era-defining artist. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with four UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017) and ‘No.6 Collaborations Project’ (2019) – he has sold over 55 million albums and 160 million singles across the world.

Most notably, Ed’s 2017 blockbuster release, ‘÷’ (Divide), saw Ed reign supreme as one of the most in-demand pop stars on the planet – a feat he has continued to sustain ever since. Crowned as the fastest-selling album, ever, by a male artist in the UK, the chart-shattering album housed a swarm of singles including ‘Castle on the Hill’, ‘Perfect’ and ‘Shape of You’, with the latter becoming Spotify’s most-streamed song of the last decade.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century either. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band and with just his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, which would officially become the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk.

Ed Sheeran - who was awarded an MBE for his services to music and charity in 2017 - is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 6 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019.

Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.

In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"

In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").

With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."

The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."

ATIC Records proudly presents ‘Electric Union’, the all-new album from Niko.

Produced by Aim. Limited edition vinyl release of 200 units. Gloss laminated, 420g heavy card outer sleeve. Matt black poly-lined inner. Transparent / purple splatter wax. Shrink-wrapped. File under : Electronic, Synth, Dance, Chill

Repress

Limited Clear Vinyl Pressing!
We are very happy to present a new series of limited releases in vinyl, called the Pattern Series. This series will consist of translucent pressings with specially designed artwork, and the first number 'Vertigo' will feature three tracks from label boss Oscar Mulero.
On the A side, the main track is 'Epley Manoeuvre', with funky components, solid drums and a repetitive synth workout which is reminiscent of classic Regis-style bleeps. This one is aimed directly for the floor.
On the B side there are two other cuts. First comes 'Gravity' flanged sequences on an hypnotic vein, sharp shaker driven percussions and a subtle but fat kick drum spiced with white noise details and 909 snares.
Closing the B side we find 'Particle Repositioning', which starts with a round kick drum and bleepy one bar sequences that are soon spiced with claps and reverb. A second percussive sequence appears after some bars, starting a rhythmic conversation until the shuffled hats and rides complete the beat.
Three abstract pieces of modern techno but with a solid step into tradition.

Tracks by Johan Inkinen (Faceless Minds), Franck Kartell, Plant43, Victoria Lukas, Penelope Martin and Depressor. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes

Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.

‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.

Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.

Mastered by Colin Potter (Nurse With Wound)

The War On Drugs first studio album in four years, ‘I Don’t Live Here Anymore’. Over the last 15 years, The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. The War On Drugs have never done that as well as they do with their fifth studio album, ‘I Don’t Live Here Anymore’, an uncommon rock album about one of our most common but daunting processes—resilience in the face of despair.



Just a month after The War On Drugs’ ‘A Deeper Understanding’ received the 2018 Grammy for Best Rock Album, the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on ‘I Don’t Live Here Anymore’. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Adam Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them.



One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written.



The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of ‘I Don’t Live Here Anymore’, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ’n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.

“Einsteigen Bitte!”

After more than six years of collaboration between label and artist, Feines Tier and Luca Musto bring to you the highly anticipated first full length LP “Nice Place, Bad Intentions”.

Musto’s first LP “Nice Place Bad Intentions” departs from the conventional 4/4 time signature. Instead, the album’s structure and the tracks themselves are reminiscent of a 1990s/2000s Hip Hop long play release. This becomes evident in the fact that the LP not only features 17 tracks, including skits and interludes, but also that they make up the framework of a conceptual album. Here, listeners will be encouraged to follow the track list and listen to “Nice Place, Bad Intentions” in one go.

“Nice Place, Bad Intentions” was produced over a period of 1,5 years. Besides the majority being original samples and vocals from Luca Musto, the LP also features a number of studio musicians, including bass players, trumpeters and guitarists. Cologne-based guitarist Simon Bahr can be found on several tracks, including the three singles “Infiltrate”, “Boogie Angst” and “Real Name, No Gimmicks”. Moreover, the skits and interludes are spoken by professional voice actors from the US and Canada.

The Berlin-themed album follows the characters Mick and Richie, who are all about partying and come to the city for one weekend in hopes to have the time of their lives. When the characters’ expectations meet reality, their naiveté (or bad intentions) lead them to getting screwed, robbed and even arrested. These stories about their journey through Germany’s capital are found in the interludes and skits. Listeners can follow them passing infamous places and metro stations in the city based on sampled BVG announcements, which gives the album a radio play vibe.

Sound-wise, Luca Musto’s unique sounds include scratched hooks that meet original lyrics and melodies, resulting in distinctive genre-bending tunes. As Mick and Richie stumble through some of Berlin’s most in-famous places, their expectations repeatedly clash with the reality of the capital’s nightlife. Similarly the liste-ners’ expectations are twisted and turned. Yet, the soundtrack underlining the characters’ journey never disappoints and brings its listeners on a rhythmic trip of old and new sounds. From rapping on downtempo as in “City of Grind” to merging the classic structure of electronic music with funky guitar licks and unconventional chord transitions as in “Infiltrate”, the LP feels at once like a daring experiment and like the beginning of a developing new genre.

Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.



ABOUT



After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.



The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.

Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.



‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.



The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.



Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.



Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

Nilüfer Yanya's new release, ‘Inside Out’, is a
compilation of her previous EPs, ‘Small Crimes’,
‘Plant Feed’ and ‘Do You Like Pain?’.
 Nilüfer Yanya is donating her release profits to the
organization Artists in Transit, a non-profit
collaborative artists project bringing creative
workshops to displaced communities and people in
times of hardships.
 Transparent pink vinyl.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
 ‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
 The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
 The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
 Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.

12” gatefold jacket w/ full color matte UV print, 1x translucent purple cloudy effect vinyl, black dust sleeve, printed LP labels, marketing sticker and free digital download card

Gregory Keltgen (aka DJ Abilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after, Abilities was also garnering attention for performing all the scratches on indie classic, Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Album by Semi.Official, and The Taste of Rain... Why Kneel? by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.

DJ Abilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic

creative union that produced three albums—First Born; E&A; and By The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJ Abilities’ music to this day.

His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based, Phonograph Phoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.

Ellesmere, a symphonic-prog music project founded and led by Italian multi-instrumentalist Roberto Vitelli, author of all the music and lyrics, surprisingly comes back just one year after their second album "Ellesmere II / From sea and beyond" with an amazing work in terms of freshness, energy, impact and meticulous attention towards its sound and arrangements.

First of all, "Wyrd" deserves admiration starting from the cover artwork made by Rodney Matthews, an iconic illustrator at least equal to the legendary Roger Dean. Musically, it evolves on the same path of "Ellesmere II", so the main references are classic prog outfits Yes, King Crimson, Kansas, plus a good amount of jazz-rock, present in every song; but there are also references to contemporary progressive rock and to artists such as Transatlantic, Flower Kings and Spock's Beard. "Wyrd" is therefore a third epic and even more enthralling chapter than the previous one, almost completely instrumental and captivating from the first minute to the very last one.

As per tradition, "Wyrd" also involves a series of prog-related prestigious guests: Mattias Olsson (Änglagård, White Willow / drums), Tomas Bodin (The Flower Kings / keyboards), David Cross (King Crimson / violin), John Hackett (brother of the famous Steve Hackett and a constant presence in his solo records / flute), David Jackson (Van Der Graaf Generator, Osanna / saxophone), Tony Pagliuca (Le Orme / keyboards), Luciano Regoli (Raccomandata Ricevuta Ritorno / voice), Fabio Liberatori (Loy & Altomare, Lucio Dalla, Ron / keyboards), Fabio Bonuglia (keyboards) and Giorgio Pizzala (vocals).

In a path of musical and stylistic evolution that started from the acoustic and pastoral prog of "Les Châteaux De La Loire" (2015), we hope that "Wyrd" does not represent point of arrival, but another passage towards new unexplored lands!

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight