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re:discovery records is happy and proud to honor a beloved and missed amazing electronic producer Jake Stephenson. Sadly, Jake passed away in 2005 but his music lives on with us forever. A prolific producer with hundreds of credits under many names and many styles. On the record insert inside this EP, his brother Silas and fellow producer and friend Brian Trower share some special stories of Jake as a person and a musician. An eccentric hippie of sorts, music historian and audio savant certainly, Jake was truly a unique, talented and special person. While a 5 track EP hardly scratches the surface, we at re:discovery wanted to honor an artist who impacted the label owner and the history of chill out music more than maybe some know. 50% of the proceeds to go the charity Silas picked to honor his late brother.

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.

The debut album from London's finest, Hak Baker - 'Worlds End FM' represents the war in Hak's mind, the culture war on the streets of London and the individual battles of his community - from his mother to his brother to his best friends. In a year that will see Hak perform alongside Pete Doherty at The Royal Albert Hall, Jamie T at Finsbury Park & his own headline UK & Germany tours, the campaign has already garnered support from Rolling Stone, NME, Clara Amfo, Steve Lamacq, Jamz Supernova & partnerships with Dr Martens, Fred Perry, Fender, FIFA & Hugo Boss to name a few. Previous highlights include performing on Later with Jools, Glastonbury 2022 (Other Stage), the first artist ever to play at the BBC's new Eastbank site, selling out two Village Underground shows & been championed by the likes of Clara Amfo, Jack Saunders, Sian Eleri, Tom Ravenscroft, Jo Whiley, Huw Stephens & Charlie Sloth.

Blackened thrash veterans LEGION OF THE DAMNED slay on new studio album The Poison Chalice The LEGION slays again! Dutch thrash veterans LEGION OF THE DAMNED have once again entered into an alliance with the devouring depths of black and death metal and unleash another angry beast, The Poison Chalice, on May 26, 2023 via Napalm Records. The shredding monster delivers the most delicious pitch-black brew and tortures dark souls into demonic underworlds. Founded in 1990 as Occult, the thrash machine around founding members Maurice Swinkels and Erik Fleuren was reborn as LEGION OF THE DAMNED in 2005. On The Poison Chalice, the band unites with Fabian Verweij as second guitarist besides Twan van Geel and hails together with bassist Harold Gielen performing as a five piece for the first time ever on a studio album. Conquering the European charts for decades, the LEGION crowned itself at #17 in the Official German Album Charts with predecessor Slaves Of The Shadow Realms (2019). For almost 35 years, they have formed their aggressive signature sound from the most horrific ingredients of thrash and death metal, combined with brutal blackened influences, resulting in one of the most defined and unique sounds in the scene. The Poison Chalice comes to life by spreading its eerily beautiful wings within the first few seconds, then dives headfirst into a hellishly furious storm before the second song ""Contamination"" absolutely kills. In classic LEGION OF THE DAMNED manner, there is no escape as the track relentlessly drives into the abyss. The album spreads brutal and ice cold thrash soundscapes through relentless attacking drums and incredible guitar harmonies from both lead guitarists, underlined by angry bass lines. Infectious thrash treasures such as “Progressive Destructor”, and the almost seven-minute berserk “Behold The Beyond” break necks with hammering guitar riffs and bloody double bass infernos. “Beheading of The Godhead” delivers what the song title promises, before the past 48 minutes of hate closes with a final deep gulp from “The Poison Chalice” - leaving no one behind. Together with producer Erwin Hermsen, the band has closed the gates of the underworld in Toneshed Studio and demonstrates that they remain the unchallenged masters of brute and unrelenting death-thrash metal in 2023

Donovan Woods was curious: What if he re-recorded Both Ways, his acclaimed 2018 record that won him a Juno Award for contemporary roots album, and distilled its 12 songs to their bare essence? An “acoustic reimagining,” if you will. “We started from scratch,” he says, from the instrumentation to his vocals to a fresh understanding of the heartache and regret that underpinned those songs. “There are no recording elements carried over from that album. It’s all brand-new.” Woods ended up with The Other Way, his album that brims with inspired interpretations of Both Ways that are intimate yet startling in their urgency. Released on May 3, 2019 on Meant Well, this release is a reminder of why the Canadian artist has become such a sought-after songwriter whose work has been recorded by Tim McGraw (“Portland, Maine”) and Lady Antebellum’s Charles Kelley (“Leaving Nashville”), with Spotify streams approaching nearly 90 million. You’ve always been able to hear and connect with Woods’ words. But an odd sensation washes over you when the varnish is wiped off of Woods’ songs. Somehow the lyrics burrow with even greater resonance and then linger like little smoke rings. For a producer, Woods enlisted ace guitarist Todd Lombardo, who produced Woods’ song “Portland, Maine” in 2015 and wrote and played most of the guitar parts on Kacey Musgraves’ Grammy-winning Golden Hour. Woods gave Lombardo artistic license not only to change the chords and song structures but to overhaul the arrangements with acoustic instruments and Lombardo’s luminous guitar work as the centerpiece. “I think this album draws out the pain and the darkness of these songs,” Lombardo says. “The record is about loss and failure and feeling like you fucked it up, and there’s no mistaking that. You hear every single word – and feel it, too.” Coming on the heels of “Go to Her,” Woods’ first song of 2019, The Other Way is so revelatory that it makes you wonder why he didn’t try this approach sooner. “It’s always been an interesting idea to me, especially when you’re an artist like me who inherently disappoints some people anytime your sound gets bigger,” Woods says. “But a really good song is a good song in any arrangement. It’s like a beautiful hardwood floor. You can put any furniture in there, and it’s going to look good.”

DMX Krew unearths the lost Cold War LP.

Created for 1983. Created in 2003. Released in 2023. In mistrust and blindness mankind wages a COLD WAR, East against West in a spiraling cycle of mindless escalation. For 40 years the madness continues until it reaches its inevitable climax, NUCLEAR WAR.

Armageddon is achieved at the push of a button, millions of lives are destroyed. Those who are spared struggle for survival in the bleak conditions of NUCLEAR WINTER.

Acid rain destroys the landscape, darkness falls across the face of the
earth and hope is lost as the population falls prey to radiation sickness and cancer. Deep underground, the last survivor works feverishly in his isolated laboratory. A lone scientist attempting desperately to save mankind, he uses occult technology and deep-frozen human tissue to create a group of 12 radiation-resistant HUMAN CLONES.

They set forth to rebuild and repopulate the planet, whilst the scientist continues his work to improve and strengthen mankind. He develops a technique to fuse his own living flesh with the transistorized mind of a supercomputer, transforming himself into FUTURE MAN. Synergy of man and machine. Having transcended his mortal condition, he is now deemed ready to meet THE ELOHIM, a race of super-evolved aliens who created mankind 40000 years ago and have been watching and waiting ever since for the day when man at last becomes enlightened.

They descend from the heavens in their storship telling Future Man to
rejoice, for the trials of mankind are over and they sing to him of their long wait and THE GOLDEN AGE which is about to begin. Future Mom and the Clones are taken on board the spacecraft whereupon the Elohim transport them through the STAR GATE to a planet paradise where they are able to live in peace and happiness and once again become prosperous and many.

Oorsprong is a tube, a line in a forest, a sound sculpture. Acoustics to be revealed. Activated by entering, it becomes a giant flute producing a tone that is so low, the body crashes into waves of pure pressure instead of sound. Untranslatable energy. CERCHI CERCHI by Lukas De Clerck (FKA: Bloedneus & de Snuitkever) is a quest in a forest to find traces of that untranslatable sound, its impact, its imprint, its memory. A hide and seek in which the body is concealed in the instrument, becoming its second voice, hidden but exposed.


I
whistling, organ pipe, voice
A whistle, a whisper, a play of breath. Echoes of a low pulse, colliding into each other.
Party in the background, a coach blows a whistle, a haunting scream echoes the whistling from inside, kids returning from a party.

II
voice, whistling
To give away your voice, a gesture. The initiative for an introduction.
Birds chirping, an F16 piercing through the sky.

III
kaval
A circular breath gently caresses a line of circles, making its surface ringing.
Birds chirping, voices of kids, kids shouting, the door of Oorsprong closes.

IV
oorsprong, two bass recorders
When tuning becomes rhythm, when rhythm becomes a beat of breath. A beat underneath the beating of tones. Feedback of flutes.
The clanging of 2 bass recorders, the ventilator of Oorsprong is turning on.

Released via Earth Libraries, Cooper Wolken's debut solo album Chapters
translates the duality of darkness and sublime beauty with intimate
personal vignettes - This collection of songs, written across 2018 and
2019, are tied closely to moments in his relationships and personal life,
but all point to something universal
Realizing he'd accrued an album's worth of new music, Wolken brought together
guitarist Steven van Betten, bassist Marcus Hogsta, drummer Nick Hon, and
trumpeter/producer Louis Lopez to round out his compositions. The group set up
camp at Theo Karon's Hotel Earth, cramming an album's worth of tracking into a
weekend. The resulting Chapters honors that familial coziness, a record at once
diaristic in its familiar warmth and profound in its resonant emotionality.

»Ced Gee X Kool Keith«, beide Mitglieder der legendären Ultramagnetic MC's, haben sich für eine neue Ultramagnetic MC's-Platte zusammengefunden. Das Wiederaufleben des klassischen Hip-Hop wird im Jahr 2022 mit der neuen Veröffentlichung von Ultramagnetic MC's »Kool Keith x Ced Gee« fortgesetzt Die Ultramagnetics Kool Keith, Ced Gee und DJ Moe Love, die Mitte der 80er Jahre in der Boogie Down Bronx als weit verstreutes Hip-Hop-Trio mit einem Haufen neuer Ideen auftraten, nehmen so etwas wie einen einzigartigen Platz im Pantheon der alten Schule ein.

Die Ultramagnetic MCs kombinieren funkige Songs mit rockigen Beats und obskuren lyrischen Anspielungen und können auf eine Reihe von Premieren verweisen: Sie waren die erste Rap-Gruppe, die einen Sampler als Instrument einsetzte, die erste, die ausgiebig mit Live-Instrumenten arbeitete und die erste, die einen ehemaligen Psychiatriepatienten (Kool Keith) am Mikrofon hatte.

Frühe Singles wie »Something Else« und »Space Groove« wurden zum festen Bestandteil von Blockpartys und schlugen Wellen im Underground, so dass die Gruppe schließlich bei dem von Disco dominierten Label Next Plateau landete, wo sie ihr unterschätztes Debüt veröffentlichte. In den folgenden Jahren wechselte die Gruppe von Label zu Label und veröffentlichte Alben auf Mercury und Wild Pitch, bevor sie sich trennte, um verschiedene Projekte zu verfolgen. Bei dieser besonderen Veranstaltung werden Kool Keith und Ced Gee klassische Ultramagnetic MCs-Songs vortragen und Geschichten über die Entstehung ihres ikonoklastischen Katalogs erzählen.

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

Nachdem seine intime Underplay-Show-Tour „SHHH“ im März binnen Sekunden ausverkauft war, kündigt Archy Marshall sein mittlerweile viertes Studioalbum „Space Heavy“ als King Krule an. Erscheinen wird es am 9. Juni bei XL Recordings. Zehn Jahre nach der Veröffentlichung seines umjubelten Debütalbums „6 Feet Beneath the Moon“ zeigen die 15 neuen Songs den britischen Songwriter auf der Höhe seines Schaffens.



Entstanden ist das Album zwischen 2020 und 2022, als Archy Marshall sowohl London als auch Liverpool seine Heimat nannte und viel Zeit auf den Reisen von einem zum anderen Ort verbrachte. Während diesen Trips entstand seine Faszination für „the space between“, wie er es nennt: die Orte, die von Träumen voller Liebe verfolgt werden, während sich Archy in seinen Texten mit persönlichen Verlusten befasst. Nachdem die Texte fertig waren, entstand die Musik gemeinsam mit dem Produzenten Dilip Harris sowie seiner langjährigen Band, bestehend aus Ignacio Salvadores (Saxophone), George Bass (Schlagzeug), James Wilson (Bass) und Jack Towell (Gitarre).



In den 15 Songs von „Space Heavy“ verbinden sich viele Elemente seiner bisherigen Karriere mit dem klanglichen Kosmos, der ihm das Attribut als eine der Stimmen seiner Generation einbrachte. Die dichten Lyrics seines Debüts, die Verschiebung seines Sounds bei „The OOZ“ (2017), die Ursprünglichkeit von „Man Alive!“ und die rohe Verletzlichkeit, die er auf „You Heat Me Up, You Cool Me Down“ zeigte, fließen in den Sound seines neuen Albums ein.



Mit der Albumankündigung erscheint die erste Single „Seaforth“ mitsamt Video, bei dem seine regelmäßige Kollaborateurin und Visual Artist Jocelyn Anquetil Regie geführt hat.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

With BloodPact 11xxx27 & Mystics present their first installment on ZHARK. Dense, oppressive and gloomy atmospheres meet hard hitting heavy percussions, violent rhythmical and fragmented vocals underline a constant sentiment of ferocity and nostalgia. The Napoli based duo deliver 6 powerful energetic and deeply emotional electronic explorations.

Moments! Not just a music company but also a series of events under thesame name, releasing only outstanding works by musicians performing atthose events. When the award-winning producer, and an internationallyacclaimed DJ, Guy Mantzur, started a new enterprise, Moments, he had highgoals for a new endeavor. Since then, every label's release has pushed theenvelope.

According to numerology, eleven is the first of the Master numbers, and theeleventh release is nothing short of pure mastery. Tel-Aviv-based ChicoShuella, better known as Chicola, is one of the jewels in the crown of theIsraeli DJ scene. With a couple of decades under his belt and a stellarreputation, his debut brings a special touch to the label's exciting catalog.

Chico's debut on the label brings a three-track concept that takes theaudience on a twenty-minute journey. The opener, Dear Kobe, a collaborationwith Yoav, is a masterful work based on abstract emotions and spacy synthwork. The second track, Every Pain Got A Name, speeds up the tempo andreaches for the psychedelic atmosphere breaking the rules of the genre. Theclosing song is an ambient version of the middle piece, focusing on narrativelyrics and grandiosity.

Moments! Every second counts.

Wah Wah 45s hail the much anticipated return of one of their most beloved artists. Way back in 2006, the label first unleashed the anthemic "Modern Sleepover" by two man, smooth music loving outfit Talc. The song - an ode to a tortured love affair between a computer and its owner - with its shades of Zapp, Steely Dan and The Doobie Brothers - found favour with Djs and tastemakers from across the board from Bill Brewster to Gilles Peterson. Such was the cult status of the tune, that it spawned a sequel, naturally entitled "Modern Sleepover Pt.2: Robot's Return" which has recently had something of a renaissance thanks to an inclusion by legendary Detroit DJ and producer Moodymann on his "DJ Kicks" compilation.

Sixteen years and two albums later, and having seemingly put the project to bed for good, Talc (much like the robot) return for one final and very special release. This brand new 12", as well as featuring the sought after "Modern Sleepover" pairing together on vinyl for the first time, also includes the rarely heard Michel Legrand cover "De Gui Ding", previously only available in Japan (where Talc enjoyed a huge underground fanbase) as well as two stunning remixes from our old friend, The Reflex.

The Frenchman was the obvious choice to rework Legrand's 1964 camp jazz classic, and on his first mix delivers an uplifting disco friendly, vocal led take that should raise a few smiles on the dancefloor. His second mix is more of a late night affair with more of a deep, dubbier, house feel. Something for everyone then on this essential release, complete with gorgeous artwork from our award winning in-house designer Animisiewasz.

The Other Maria represents the character trait each of us has inside within ourselves. The silent part of us that we try to regulate, keep restrained from others and managed just beyond reach from the rest of the World. It represents the compartmentalized potential to do, say and respond with great chaotic harm, despite all unfortunate consequences. It is a full release feeling that we sometimes quietly envy as we witness with disgust and disapproval.

Widely considered a character flaw to many, yet, some would relish in the opportunity that could summon such an unpredictable internal animal. Every life has two parallel parts. The one for "them", the version of yourself that abides by all the acceptable and expected rules of engagement - often a side that is given credit on face value. The side that achieves progress through peaceful and less confrontational means. The one you use to survive.

And the other side, the one for you. An uncompromising, unthinkably ruthless version that knows no limit. That knows no fear. The side of yourself that tells you yes, when you know that "no" is the better answer.

The Other Maria isn't about comfort. It is about hard truth, but also recognizing raw emotions that stem from feeling undeniably free.

And what could one do with such a dark, yet wonderworking ability - when the absence of fear and consequence presides over the judicious process leading to an enviable fate - convinced that all actions are pure, justified, direct, but conniving. The feeling of relieved of all guilt and accountability?


But as diabolical as it can be and appear. Along with the negative static, there can be progress. As true imposes are exposed, so does the transparency of reality. A precious truth that's needed to fully understand the severity of the situation.
And with this, comes a valuable knowledge from a low level in which one once descended. Dreadfulness is softened to predictability.

- Jeff Mills, April, 2023

The second instalment in the 45 RELOVED series sees acclaimed world-electronic duo Dengue Dengue Dengue diving into the most intriguing side of Giuliano Sorgini, an undisputed heavyweight of Italian library music with cult soundtracks under his belt, such as The Living Dead at the Manchester Morgue and Zoo Folle.

The original ‘Oasi nella giungla’ (which translates as Oasis in the Jungle) comes from the highly sought after Africa Oscura (Dark Africa), a sublime collection of tracks originally intended for use in television, all of which were recorded by Sorgini in the mid-70s by overdubbing synths, drums (both acoustic and electronic), a wide variety of percussion instruments, and field recordings.

Back in 2019 Four Flies paid tribute to Africa Oscura with two EPs of remixes by Italian producers from the cosmic/Balearic electronic scene. Four years later, Dengue Dengue Dengue’s mind-blowing rework of ‘Oasi nella giungla’ offers a great opportunity not only to go back to the fantastic sound of that album, but to fully appreciate the tribal element in Sorgini’s music.

In the hands of the Peruvian duo, the sonic geography of ‘Oasi nella giungla’ magically shifts from the depths of Africa to those of the Amazon rainforest, and the tribal percussions of the Savannah turn into an equatorial cumbia full of mystery and mystical echoes. The result is a mesmerizing fusion of tropical rhythms, dub, house and psychedelia, with an ancestral vibe that is perhaps even more pronounced than in the original track. Co-curated with Little Beat More.

Various Artists - A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006) LP + 7' + 4 page booklet insert describing the legacy of the magazine, 500 only pressed. A vinyl only release. "A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)" is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie. Comes With A Smile's designer/editor Matt Dornan's association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and CWAS converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time. Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York's The Scene Is Now, Athens' Sigmatropic (featuring Edith Frost) and London's cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy's "Elephantine" (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now's "The Word". The tracks on side two and the accompanying 7" are a diverse selection drawn from the 16 CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs's Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12" tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album 'The Great Destroyer' by shapeshifting veterans Low from the same year. Together the 14 tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of CWAS. 'Probably the best independent music magazine in the world '- ESQUIRE // Tracks: SIDE ONE: 1 The Scene Is Now - 'Words' (3:10) 2 Howe Gelb - 'Wolf Pup' (4:42) 3 Mark Mulcahy - 'Elephantine' (4:12) 4 Sigmatropic featuring Edith Frost - 'Haiku 4 (Alt)' (2:31) 5 Mark Eitzel - 'Bought A Book' (3:36) 6 The Real Tuesday Weld featuring Sephine Lo - 'Dreaming of You' (3:47). SIDE TWO: 7 Lullaby For The Working Class - 'In Defense Of Abstractions' (3:18) 8 Nina Nastasia - 'I Will Never Marry' (3:29) 9 David Grubbs- 'Aging Young Lovers' (2:53) 10 Brokeback With Chicago Underground Duo- 'Chomsk, Live!' (7:08) 11 Blanche -'Never Again (Demo)' (3:26) 12 Songs: Ohia - 'Untitled' (3:01). 7" SIDE 3: The American Analog Set - 'Everything Ends In Spring (Edit)' (4:41). SIDE 4: Low - 'Walk Into The Sea (acoustic version)' (3:07) For indie stores only!

Warehouse find!

Teenage Fanclub have announced news of their tenth studio album, Endless Arcade, released 5th March. Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.

Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.

In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

Such is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”

A preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.

Everything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.

Fortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.

Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. Like Norman’s other Endless Arcade songs – The Sun Won’t Shine On Me’, ‘Warm Embrace’, ‘I’m More Inclined’, ‘Back In The Day’ and ‘Living With You’ – his words on ‘Home’ are etched by loss and yearning. “Without going into too much detail, the last eighteen months have been challenging for me on an emotional level,” he admits. “But it’s been cathartic channelling some of these feelings and emotions into song.”

In contrast, Raymond’s songs – he’s also responsible for ‘Come With Me’, ‘In Our Dreams’, ‘The Future’ and ‘Silent Song’ – are philosophical and questing. As he sings in ‘The Future’: “It’s hard to walk into the future when your shoes are made of lead”, but he’s still going to try, “and see sights we’ve never seen.”

In the band’s own near future, they’re already planning another new album given they can’t yet tour the one they’re releasing now. Welcome back, Teenage Fanclub, unafraid of this endless arcade that is life.

Warehouse find!

Teenage Fanclub have announced news of their tenth studio album, Endless Arcade, released 5th March. Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.

Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.

In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

Such is life. But the title track suggests, “Don’t be afraid of this endless arcade that is life.”

A preview from the album came in February 2019 with Raymond’s ‘Everything Is Falling Apart’, an online single released at the outset of a six-month tour and a highlight of Endless Arcade.

Everything is falling apart? Well, yes, but the song was written long before COVID-19 arrived. Neither was Raymond’s inspiration political or social, but more, “the entropy in the universe, the knowledge that everything eventually decays,” he explains. But Raymond says relax. Or rather, “Relax, find love, hold on to the hand of a friend”.

Fortunately, Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. It seems timely, given how everyone had to initially stay home under lockdown, that the album starts with Norman’s ‘Home’, though it was chosen in part because of its opening line: “Every morning, I open my eyes...” The album’s longest track (at seven minutes) typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo.

Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative. Like Norman’s other Endless Arcade songs – The Sun Won’t Shine On Me’, ‘Warm Embrace’, ‘I’m More Inclined’, ‘Back In The Day’ and ‘Living With You’ – his words on ‘Home’ are etched by loss and yearning. “Without going into too much detail, the last eighteen months have been challenging for me on an emotional level,” he admits. “But it’s been cathartic channelling some of these feelings and emotions into song.”

In contrast, Raymond’s songs – he’s also responsible for ‘Come With Me’, ‘In Our Dreams’, ‘The Future’ and ‘Silent Song’ – are philosophical and questing. As he sings in ‘The Future’: “It’s hard to walk into the future when your shoes are made of lead”, but he’s still going to try, “and see sights we’ve never seen.”

In the band’s own near future, they’re already planning another new album given they can’t yet tour the one they’re releasing now. Welcome back, Teenage Fanclub, unafraid of this endless arcade that is life.

The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari . Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

In the years since The Aces released their acclaimed sophomore album, ‘Under My Influence’ in 2020, the band has been on a journey of self-discovery. Faced with the realities of a global pandemic, sisters Cristal and Alisa Ramirez (lead vocals/guitar and drums, respectively), Katie Henderson (lead guitar/vocals), and McKenna Petty (bass) used quarantine as a time to reflect, confronting personal mental health issues as well as processing experiences they’d had growing up together in Provo, Utah, as part of the Mormon church. When The Aces returned to the studio, their vision — and the honesty and trust between them — felt stronger than ever. The result of this growth period is ‘I’ve Loved You For So Long,’ the band’s third LP. Written and executive-produced by the group (along with Keith Varon, the sole collaborator on the project), the album is a sparkling indie-rock record that’s by far their most personal and self-assured work to date. From tracks that ruminate on mental health and self-sabotage to searing anthems about love, longing, and heartbreak, ‘I’ve Love You For So Long’ is a record that’ll work its way into your head and heart — and will have you singing along all the way through. ‘I’ve Loved You For So Long’ is also an opportunity for The Aces to reach new heights and build on their many previous successes. To date, the group has earned over 205 million career streams; ‘Under My Influence’ alone garnered more than 75 million (including 35 million on its lead single “Daydream”). The album also appeared on numerous charts, including #53 on Billboard’s Top Albums list. Further, The Aces have toured with the likes of 5 Seconds of Summer, X Ambassadors, The Vamps, and COIN, and have played at festivals all over the world, including NY Pride, Lollapalooza, Firefly, Bonnaroo, OUTFEST, and more. After selling out their last U.S. headline tour in 2021, the band will hit the road again this year, with dates soon to be announced.

"Wa Do Dem" gilt als bestes Album des Künstler und wurde seinerzeit im Channel One Studio aufgenommen und von Overton "Scientist" Brown, Prince Jammy und Stanley "Barnabas" Bryan in King Tubby's Studio abgemischt. Eine erstklassige Produktion mit dem Gütesiegel Henry "Junjo" Lawes und den Roots Radics als Backing Band, inklusive zeitlosen Stücken wie "Ganja Smuggling", "Noah's Ark" und dem Album-Titelsong "Wa-Do-Dem". Als Riddims konnten der "Shank I Sheck" (B1), "Hot Milk" (B5), "Going Back To School" (A3), "Slowly But Surely" (A5) und "Hunter Man" (B2) identifiziert werden.

The atmospheric aquatic adventures of the World Aquanaut Security Patrol (WASPs) provided the perfect grounds for the evolution of Barry Gray’s own musical odyssey. After navigating otherworldly vistas with experimental minimalism in Fireball XL5, Gray anchored Stingray’s underwater exploits with a cannon of earth-bound incidentals. Employing flutes and gentle woodwind sounds to set the scene, Gray’s music drew attention to the wonder of the series premise, employing lush heavenly strings for the series’ closing theme, ‘Aqua Marina’ (a croon brought to life by in-demand vocalist Gary Miller). The off-duty exploits of the WASP characters also allowed Gray to return to his jazzy routes, with the production team adding a loving reference to the composer in the episode Tune of Danger with a ‘Graystein’ Piano. Episodic melodrama was once again brought to life with bold brass, and driving military marches would establish the WASPs’ base, Marineville, and an unforgettable Match of the Oysters (in The Secret of the Giant Oyster). The DNA of the which would foreshadow the iconic theme for the Andersons’ next series…

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Like the winged half-man/half-bull that dominates its outrageous cover, Cleveland Eaton's Half And Half is a mutant bass-heavy monster that absolutely slays. Incredible jazz-funk from 1973, it's been largely overlooked for decades, and unfairly so. This is just sensational music - a crate digger's delight. It's super funky throughout, with lots of layers, jazz breaks for days, dripping with style and gritty class. This is the first reissue of what has been a hard to find record for many years; it's long overdue. Joyous music for mind, soul and body.

Cleveland Eaton was a revered bassist who played an active role in the backing of Count Basie, the Donald Byrd Quintet, The Ramsey Lewis Trio, Terry Callier and Minnie Riperton; amongst many, many others. Half And Half was the first album released under his own name, initially released as a private press record on his - awkwardly named - Cle An Thair Records. It was then picked up by Gamble & Huff for Gamble Records. Varied, string-adorned and with stupid funky grooves, it's just exceptionally good.

Whilst Half And Half is treasured for its famously brilliant interpretations of gold funk-soul standards, Eaton proves an imaginative composer in his own right. Indeed, the album opens with a striking original; the earthy, laconic jazz-guitar-funk fusion of "Keep It Funky". Cleveland and co. do exactly that. Up next is a properly moving cover of Aretha Franklin's eternal "Day Dreaming". The flute and guitar combo truly achieve celestial greatness here. "Here Comes Funky Lou" rides a bassline from the Gods and a driving soul-jazz groove allows the track to go off in all sorts of directions. Serene guitar soul of the breezy variety one moment, crazy hectic violin-driven wig outs the next, courtesy of Ed Green who played with Dorothy Ashby and Alice Coltrane.

His blistering two track salvo of Stylistics covers to close out this A-Side of A-Sides will leave your jaw dropped, and they're likely the reason you're here for this. And why not? "Betcha By Golly Wow", which uses a bed of acidy synths and harmonica to create a unique atmosphere, is on some next level business. Melancholic, wistful, beautiful. "People Make the World Go Round" is so good, dripping in wonderful horns and ace percussive breaks, it could even be regarded as the definitive version. Seriously!

Opening Side B, War's gigantic "Slipping Into Darkness" is tightly tailored to Eaton's funky flute fusion arrangement whilst the insistent "Missing You" is a swaggering horn-heavy version of Luther Ingram's track from the Dilla/Ghostface-linked LP, I've Been Here All The Time. The creeping, screeching guitar-drenched original "John's Groove" features more fantastic horn lines and neck-snapping percussion whilst "The Love Gangster", written by Bill Wyman and Stephen Stills for his seminal Manassas LP, contains a heavy break with slick drums high in the mix and fuzzy guitars.

The album closes with two more Eaton originals. Written with Johnny Guitar Watson, "Lie" is one hell of a funky string and guitar-driven gem whilst the wild, celebratory "Ah Movin' On" cleverly quotes "Wade In The Water" (which he'd recorded with Ramsey Lewis in 1966) folding it into his new free-jazz composition. A message to his old boss, perhaps, as a sign-off?

We've worked on this reissue for 3.5 years, spending the whole time making it sound super sharp and looking as perfect as it possibly can. An absolute must-have for fans of soulful jazz-funk, Half And Half was mastered for vinyl by Simon Francis and cut by Pete Norman at Final Tweak. The bizarre artwork, mutant beast and all, was restored at Be With HQ over many painstaking months! Hopefully, this new edition, a real labour of love, should bring Cleveland Eaton into the homes and record boxes of many more people.

Colin McCann didn't pick up a guitar for nearly ten years. The Northern-California-based songwriter, previously performing under Long Dog Bird, had been creating music with longtime friend and collaborator Brian Gossman for much of their adult lives with early-00s Baltimore-based band Wilderness. So what would cause such a stagnant period? And how could McCann find his way back to the joy that music had once so easily conjured? The answer was to go back to the very beginning, where the kinetic forces that urged McCann to make music in the first place could emerge once again. But first, he had to make space in his internal world; a kind of silence where he could hear the exhale of his past, and the blossoming of a new song. That blossoming would soon become the first songs for McCann's latest project Vulture Feather. The band's debut album Liminal Fields exists on an intangible plane: a crack in the concrete, a gauze between worlds. For as long as McCann can recall, he's been using music as a vehicle to try and connect with an underlying, indescribable nature that only the sonic world seems to be able to reach. "There's a feeling of ecstasy that comes when one merges with music," he says. "It's what calls us all back again and again to listen, to sing, and to play." McCann had been striving to reach this outlying environment throughout his career, often stretching in ways that eventually came to negatively impact his life, and his health. The wake up call came when McCann suffered a near-death experience, eerily predicted by a friend through a dream she had had almost a year earlier. Newly awoken to the beauty of being alive, McCann strove to slow down, to listen to the inherent nature in all living things, and to rediscover our mutual connectivity. He stopped playing and listening to music, and instead soaked himself in the cacophony of silence. Then without any epiphany or grand catalyst, something urged McCann to pick up a guitar again. Ideas flowed more naturally than ever, and he soon realized that the liminal space he had been searching for was there all along--he only had to listen. McCann tentatively reached out to Gossman to collaborate and the friends found themselves once again jamming together, in an off-grid quonset hut where they now practice. "It was like no time had passed," McCann says. "That feeling of ecstatic joy, of forgetting your own name, came flooding back." They were soon joined by another old friend, Eric Fiscus, who completed Vulture Feather on drums.

A stone’s throw from the church where Desmond Tutu organised the escape of the most wanted antiApartheid activists of Soweto, BCUC rehearses in a shipping container-turned-community restaurant,
where their indomitable outspokenness echoes in a whole new way.

Like its elders, Bantu Continua Uhuru Consciousness sees its music as a hedonistic trance, but also as a weapon of political and spiritual liberation.
Bantu means people, Uhuru means freedom - the 7- pieces band led by vocalist Jovi Nkosi rekindle the freedom of awareness, giving contemporary voice to the ancestral traditions of indigenous peoples.
Jazz sounds of 1970s and ‘80s productions replaced by hip-hop in!uences and punk-rock energy, taking the listener on an intriguing epic journey.

With only a few releases under their belt, BCUC took the world by storm with their mesmerising performances, winning crowds at festivals such as Glastonbury (West Holts), Roskilde, Dour, Worldwide, Womad, Fusion and Sziget to name a few, while collaborating with legends like Femi Kuti and Saul Williams.

‘Millions Of Us’ is their first full-length album and most ambitious work to date - distilling their magic on record, summoning mainstage festival-energy and stewing down, casting spells for the intimate
audience. Recorded in Soweto, post dubbed and mixed in London the album is the coming together of this unique band and London’s On The Corner Records, a label that has been traversing underground
sounds worldwide.

Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and electroacoustic ambience through a series of singles on A Colourful Storm and Unterton. A Colourful Storm now presents the culmination of his work and debut album, a shapeshifting expression of luminescence and rhythmic complexity.

Mark’s ambitions with Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) reflected upon the relationships between - and division of - people, place and power. Now he responds with two pieces featuring his signature skittering drums, seismic sub-bass and atmospheric passages recalling Roland Kayn, Luigi Nono and Bernard Parmegiani. Moonlight shines, choral voices appear from above. Arresting, unnerving tranquility.

Recommended for fans of Eli Keszler, Hiro Kone, Torsten Pröfrock and Kali Malone.

Nach seinem hochgelobten BPitch-Debüt aus dem Jahr 2022 kehrt Matasism mit vier neuen Deep Cuts voller Underground Rave-Hitze zurück. Auf The Music Is Control Of Your Acid Mind verwandelt der in Rom geborene und in den USA lebende Künstler Aspekte von Trance, Industrial und EBM in unerbittliche Techno-Banger, die von einem authentischen Rave-Geist getragen werden.

A Long Hot Summer is the fifth studio album of Masta Ace, and follow up album to Disposable Arts. The album is about Masta Ace's journey as an underground rapper through his "Long Hot Summer" in Brooklyn, together with his unofficial manager and pal Fats Belvedere. This album includes fan favorites such as "Good Ol Love", "Da Grind", "Beautiful", "Bklyn Masala" and guest appearances like Jean Grae, Big Noyd, Wordsworth, Edo G, The Beatnuts, Rahzel and more, along with production from 9th Wonder, Khrysis, DJ Spinna, Dug Infinite, Marco Polo and others. A Long Hot Summer is a classic Ace album through and through.

What’s Mu about? Mu is about everything: Songs about heartbreak and parting share the album with songs marvelling at the scale of the universe. Mu is a concept from Zen and Chan Buddhism that means: “nothingness” and also, “pure awareness.” The awareness at the source of all things. In Hannah’s words: “There is so much life in every moment. Endless patterns, algorithms and instances repeating and changing and adapting. Spiralling outwards from the source. What source? The source.” In search of the source, Hannah has composed and arranged an undefinable, cinematic album that leads the listener on a winding path through her imagination. Sonically as well as thematically, Mu is an album of extremes and lofty ambitions. Fragile and delicate vocal and violin textures contrast with crunchy noisescapes and brooding synthesizers. Hannah’s commanding voice shares the spotlight with a string section and is backed by spacious production featuring many acoustic instruments. Sonically, producer Nick Herrera has brought a reassuring chunkiness to this unplugged palette, in particular the head nodding drums that anchor Hannah’s celestial musings. Like a film soundtrack or a symphony Mu is best listened to and understood as a whole - it circles back to themes and refrains and re-examines them. Sometimes a song is a song, sometimes it’s a soundscape dreaming of a song. “When making this album, I had a specific concept for how I wanted the music to sound. I don’t mean in terms of genre… it was more of a visceral, sensory concept which I knew I could only realise by allowing myself to experiment and create simultaneously, believing in my rough ideas enough to grow them, to weave them into stories. I began allowing myself to enter and remain in a very heightened state of awareness, which is a state I have continued to pursue and learnt to enjoy ever since. I let my mind dissolve into blackness each day. From there the most wonderful colours can appear. I have decided to call the album “Mu” to signify the empty chasm I allowed to hold within me whilst these songs were born.”

White Vinyl

Nach einem Jahr voller schwindelerregender Verluste, persönlicher Selbstbeobachtung und bittersüßer Erinnerungen kehren die Foo Fighters mit einem neuen Album ''But Here We Are'' zurück, das am 2. Juni 2023 bei Roswell Records/RCA Records erscheint. Eine brutal ehrliche und emotional rohe Antwort auf alles, was die Foo Fighters im letzten Jahr durchgemacht haben, ''But Here We Are'' ist ein Beweis für die heilenden Kräfte von Musik, Freundschaft und Familie. Mutig, beschädigt und unerschütterlich authentisch beginnt ''But
Here We Are'' mit der neu veröffentlichten Lead-Single "Rescued", dem ersten von 10 Songs, die die emotionale Skala von Wut und Trauer bis hin zu Gelassenheit und Akzeptanz und unzähligen Punkten dazwischen abdecken. Produziert von Greg Kurstin und Foo Fighters, ist ''But Here We Are'' das 11. Foo Fighters-Album und das erste Kapitel im neuen Leben der Band. Klanglich kanalisiert sie die Naivität des Foo Fighters-Debüts von 1995, geprägt von jahrzehntelanger Reife und Tiefe, ''But Here We Are'' ist der Sound von Brüdern, die Zuflucht in der Musik finden, die sie vor 28 Jahren überhaupt erst zusammengebracht hat, ein Prozess, der ebenso therapeutisch war wie es um die Fortsetzung des Lebens ging.

Factory Benelux presents a limited edition 180gm vinyl singles collection by Marcel King, best known for his sparkling 1984 dance single ‘Reach For Love’ on Factory Records, as well as the youthful vocalist on ‘SadSweet Dreamer’ by Sweet Sensation, a UK number one back in 1974 Limited to just 1000 copies, Reach For Love: Singles 1983-88 features both sides of the infectious electro single co-produced by Bernard Sumner (New Order) and Donald Johnson (A Certain Ratio) and released as Fac 92 in April 1984, as well as a previously unreleased demo for ‘Love To Shine’, the planned follow-up single on Factory produced by Tony Henry of 52nd Street. (NON-RETURNABLE).

The album also features ‘Hollywood Nights’, a later single cut by Marcel with Gee Bello of Light of the World, along with a rare US remix of ‘Reach For Love’ by noted New York DJ Mark Kamins, and extended dub and instrumental versions.

King was invited to record for Factory in 1983 by Joy Division/New Order manager Rob Gretton, a devotee of soul and black music, and prime mover behind the famous Hacienda nightclub. ‘Rob was a massive fan of Marcel and thought he was as good a singer as Michael Jackson,’ explains Tony Henry. Not just a gifted and
plaintive soul singer, King also wrote both sides of his Factory single, ‘Reach For Love’ and ‘Keep On Dancin’, both paeans to perseverance and enduring Hacienda classics.
A classic video clip for the single, filmed at The Hacienda with local breakdancing crews, is available in.

Alas ‘Reach For Love’ was destined to remain an underground hit rather than a chart topper. Rob Gretton blamed Factory’s disdain for conventional promotion. ‘At Factory we still basically believe that you don’t have to hype a group in any way, and that a record should success on its own. But it’s getting increasingly difficult.
We put a record out by Marcel King and it’s hardly sold at all. The charts are wide open to hyping and marketing.’

Adds Bernard Sumner: ‘Marcel was an incredibly talented guy, but a tragic figure. He used to sleep in a car in Moss Side and was a bad heroin addict.’ A troubled but pioneering artist, Marcel sadly passed away in 1995 after suffering a brain haemorrhage.
1000 copies only of FBN 47 will be available on Record Store Day on 22 April 2023, pressed on 180gm black vinyl. The sleeve is based on original artwork for the Factory single and also includes a press interview with Marcel from 1984.

Limited Edition 500 LPs for RSD2023 – 250 ‘Sugar Mountain’ Gold LPs! / 250 ‘Restless Rollin’ Black LPs! (randomly inserted) . From the makers of 'Hillbillies In Hell'...

Full Throated, Big Chested Country, Hollyweird Pop and Velveteen Popcorn for the working stiffs.
Deluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia! Non-Returnable.
Full dynamic range 2023 remasters direct from the first generation analogue master tapes!
Best known as one of the original Godfathers of '50s Rockabilly, Dorsey Burnette had a fascinating 1960s solo pivot to epic, widescreen vistas of Existential Incarcerations, Serpentine Temptations, Cold War Escapees, Luciferian Combats, Eco-Armageddons and Creationist Heavens.
Blessed with a bold set of tonsils and a song-writing genius, Burnette is largely forgotten today but his hits (and misses) offer a brash landscape of Spiritual-Crooner Belters and Hillbilly Backwoods Swelters.

Lusty, loud and proud, this set examines unheard and underrated sides cut for various mid-'60s labels as Burnette sought a home for his unique Hillbilly Popcorn Pop.
Antediluvian Survivalism and Biblical Environmentalism, Ancient Traditionalism and Passionate Hedonism.
The best of Dorsey Burnette's 1960s sides stand alone as Wry Depression-Era Fables, Swinging Tower of Babel Ballads, Devilish Tribulations and Forceful Masculine Declarations.

Eons in the making – ‘Hard Working Man' captures and chronicles the stellar output of a prodigious wordsmith and eccentric, arcane thinker. Fundamental Questions and Timeless Revelations, Dorsey
Burnette channelled Eternal Wisdom through Blood, Sweat and Big Beat Ballads.
Many of these sides are impossibly rare and are reissued here for the very first time. All for your primal listening pleasure

Wicca Phase Springs Eternal is the creative persona of Scranton, PA singer, songwriter, producer, and multi-instrumentalist Adam McIlwee. Stark transmissions of obsession, melancholia, and raw emotion compliment acoustic guitar and digital percussion as if Peter Murphy and Metro Boomin had been playing Ouija together. Beneath the deep 808’s, moody synthesizers and cackling guitar, McIlwee’s singular voice effectively resonates with a generation raised amidst the frenzied collage of modern digital expression.

Wicca Phase first materialized in 2010. After receiving the name suggestion in an email from a friend on tumblr, McIlwee began writing and recording under the moniker. “Once I heard the name, it felt perfect,” he explains. Evoking mystical, occult resonances, the name serves as a passageway to explore the parallels between the material world and that of mystery. “My music is very representative of what I’m doing in the moment,” he continues. “The influence of the name seeps in and lets everyone know they’re getting into something deeper.”