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Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.

By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package.

In Rumi's poem A Great Wagon he writes of a place of total acceptance. "Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there," It is a boundless, liminal space where we can release the judgments we make and carry of ourselves, and the comparisons to others. When we think of this field, there is a sense of tranquility that only comes when we are undisturbed by the shadow self and see existence as neither bright nor dim, white nor black. But as lead singer Greg Bertens explains, arriving there is a whole different story. "This is a poem I've returned to over the years, and I love the idea of this place, but getting there is life's journey." Bertens adds "I think the longing for and elusiveness of this field is a recurring theme in our music." Field is enveloped by themes of regret, disconnection and frustration but with the space to understand that these feelings are a natural part of the struggle between reconciling the inner and outer self. The Los Angeles/San Francisco-based group have been indie shoegaze stalwarts since their formation in 2001. After two decades and a handful of line-up changes, their extensive discography presents a dynamically textural, lush psychedelic rock that has featured guest appearances by members of Pavement, My Bloody Valentine, and Snow Patrol, among others. 2021's LP We Weren't Here was hailed for its dense instrumental blanket, where unrelenting hi-hats and heavy kicks exist alongside dreamy drone guitar. This propulsive nature permeates Field, as members Bertens, Noël Brydebell (vocals), Nyles Lannon (guitar), Jason Ruck (synths), Justin LaBo (bass), and Adam Wade (drums) produce a kaleidoscopic sonic landscape. Patient, sprawling instrumentation builds a foundation in which Bertens' themes of endurance, perseverance and clarity can bloom with a considered poise. As a lyricist who writes in response to the instrumental arrangements, rather than a focus on a specific theme or person, Field is a testament to Film School's ability to create in the moment, and to showcase the magic that stems from when we are truly present. Album opener "Tape Rewind" is a swirling rush of color, as sustained guitars, darkened bass lines and urgent, percussive swells dance alongside each other. "This is the newest of all the songs on the record and feels like a new level of heaviness for the band," Bertens explains, noting that its lyrical context of struggling to move past trauma adds to its cathartic essence. Field is bookended by heavier themes, with closer "All I'll Ever Be" taking on the perspective of those we hurt when we embrace our own toxic behaviors. Originally written to be a simple acoustic guitar and vocals song soon turned into an ethereal, effects-laden composition, with Noël's hazy lead vocals ushering in a new-found acceptance. "It's all I want / To be released / And all I can be," she laments, cementing Field's message of accepting ourselves in whatever form we find ourselves in. "Defending Ruins" is a murky relentless underworld, inspired by the freewheeling tones of Texas-based band Holy Wave. "Defending the ruins, defending remains," Bertens spits, among a richly-layered outro. "Don't You Ever" confirms Film School's ability to merge both delicate and growling instrumentation throughout the album, with the song's softly spoken section hovering above sparkling guitar. "Is This A Hotel" bends towards the electronic aspects of the band, with wailing synths accompanying a story of bitter desire. With over two decades in the industry, Field cements Film School as a distinct, dominant force in the shoegaze scene. Soaked in an emotionally open, imaginative atmosphere, the album is both singular and expansive, and leaves the door open for a constantly evolving interpretation. Film School have never confined themselves to the rigidity of specifics, and it's on Field that they urge us to look beyond the binary of certainty, and to take a second look

Wewantsounds continues its Akiko Yano series with the reissue of her cult classic 'Ai Ga Nakucha Ne' recorded in 1982 and co-produced by Ryuichi Sakamoto. Featuring Japan, the album includes additional recording in Tokyo with YMO and is mixed by Steve Nye and Shinichi Tanaka. It is the first time the album is released outside of Japan and the deluxe LP features the original artwork with gatefold sleeve and a lavish 24-page colour booklet with sessions photos by Pennie Smith (famous for The Clash's London Calling photo). The reissue also includes a new introduction by Mac DeMarco and a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. The audio remastered from the Original tapes by Mitsuo Koike.

'Ai Ga Nakucha Ne' ('there must be love' in Japanese) is Akiko Yano’s 6th studio album and follows 'Tadaima' in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English fellow musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. ​​Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes "Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7."

The eleven tracks featured on "Ai Ga Nakucha Ne," mostly composed by Akiko - are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, "I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.

​There are many highlights on the album, from the pop edge of "Aisuru Hito Yo" to the avant groove of "Another Wedding Song", each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian.

The original 1982 LP release included a 24 page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album, Akiko and Steve Jansen making this release of 'Ai Ga Nakucha Ne' a unique testament to Akiko Yano's greatness.

Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.



As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

Track List

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

"Featuring Nate Morgan on piano, Jesse Sharps on reeds, Danny Cortez on trumpet, Rickey Kelly on vibes, Joel Ector on bass and Derek Roberts on drums. This music was recorded in Santa Barbara in July of 1987. Since the passing of the great pianist /composer / bandleader Horace Tapscott, the Nimbus West label has continued to document the underground L.A. jazz scene that Mr. Tapscott was once at the center of. A number of great musicians who once collaborated
with Tapscott, like Jesse Sharps & Nate Morgan, have recorded albums as leaders on Nimbus West. The short liner notes state that "trying to play serious music in an area as shallow & fad-driven as Los Angeles, were too much for this band to deal with..." so they didn't last too long. No doubt. This LP is proof that this collective's music was strong, spirited, original and had a great deal to offer. I
can't say that I've heard of any of the rhythm section players but all six members of the collective are excellent musicians nonetheless.
Nate Morgan's "Retribution, Reparation" is first and it has one of those McCoy Tyner-like 70's ensemble vibes with spirited piano and Trane-ish tenor sax sailing on top. The entire sextet is in great form with impressive solos from trumpeter Danny Cortez, vibist Rickey Kelly and pianist Nate Morgan. How musicians as incredible as this escaped notice, I will never understand. The sextet is ultra-tight and swings furiously throughout. Bassist John Ector's "Big Spliff" has a most memorable theme that had me smiling all the way through. The long & inspired soprano solo by Jesse Sharps and that great piano interplay & solo makes this piece even more special. The only cover on this LP is Monk's "Well You Needn't" and it too is done exuberantly. There are over 100 minutes of outstanding music on this wonderful release. Another buried treasure to add to your collection of great gifts from the gods." - Bruce Lee Gallanter, Downtown Music Gallery

It contains the product of two different sessions. The first date, which is actually the second chronologically, yielded just two tracks. Although, something new for the time, they were long enough to fill up one side of an LP. 5 Stars AllMusic: "The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm section: Horace Silver
(piano), Percy Heath (bass), and Kenny Clarke (drums). Walkin! is a thoroughly solid effort." 'I'll Remember April' from the same session, but not included on the original LP, has been added as a bonus.

Phil Upchurch is the kind of guitarist who makes a strong point by what he chooses not to play. There are speedier chopsmeisters, players who undertake more daring intervallic leaps, those who navigate trickier lines, but it would be hard to imagine a more soulful guitarist than Upchurch. From his laidback phrasing on Nat Adderley's bluesy boogaloo "Jive Samba" to his buttery-smooth vocal inflections on Steely Dan's "Jack of Speed" and on the bluesy title track, Upchurch's understated approach on Tell the Truth! is more about pure feeling than technique. And yet he's holding in that department too, as he so capably demonstrates on Roland Vasquez's "Long Gone Bird" and on his own stunning arrangement of Paul Desmonds' "Take Five," done up in a similar fashion to his arrangement for that tune on George Benson's crossover smash hit from 1976, Breezin'. His unaccompanied rendition of "St. Louis Blues" is another guitaristic highlight, showcasing what Upchurch calls his stride guitar technique: incorporating bass, chords and melody lines simultaneously, a la Joe Pass. The prolific studio guitarist covers a lot of basses and blows his own horn in fine style on his Evidence debut.

Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club Will need to engage in a series of lewd acts of sex and violence across the country.Immortality comes at a price and you’re about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos and the Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. You might hear some surf guitar. Crazy things can happen. A sample in “Triple D (Dead, Drunk and Depraved)” underscores the message: “We want to be free to ride our machines without being hassled by the man. And we want to get loaded.” That line, from Roger Corman’s 1966 film The Wild Angels, serves as a mission statement, and as “Lucifer’s Bend” starts by laughing about how you can’t get away from Satan, they might as well carve it into their forearms to be ready when the blast of distortion hits, as much Entombed as Motörhead, galloping and sinister, coated in road dust and blood. The band tells the story like this: “Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and you’re about to pay for it…” While forging songs adherent more to ideology than style, The Death Wheelers cast their biker cult in their own image, and on Chaos and the Art of Motorcycle Madness, they challenge death head-on as only those with no fear of it could hope to do.

Blow Your Brains Out formed in 2019 with members of Stand United, Inside, Die Birth, Civil Defense and Soul Vice from Tokyo and Kanagawa. The band are all active members of their local hardcore communities whether it's putting on shows or running a popular radio show called Sick People. Hardcore fans were hyped for the demo with its instant hit mix of Cro-mags and Dynamo style influenced hardcore, and were excited to hear what the band would do next. However, as with all things at this time, they had to put everything on pause. Fast forward to 2023 and the band have recorded their debut 12” ‘The Big Escape’. This sees the band keep true to their demo influences but with greater flair, and will have you humming the tunes in no time at all. It was important for vocalist Kai to sing in Japanese, a language with a unique rhythm and flow that he wanted to match to the riffs, as well as to communicate about topics important to the local, as well as global community, using powerful Japanese words. ‘The Big Escape’ 12” talks about cult religions, political corruption, domestic violence, and companies that force people to work in poor conditions, as well as the suppression of citizens who resist authoritarian forces. I see through their lies and madness and act with the determination I have squeezed out, without succumbing to after-the-fact sophistry or threats. The underlying theme is the understanding that structural issues in society and politics cannot be easily solved, but it’s important to voice dissatisfaction and anger, and resist, and sometimes that’s by running away to survive, but it’s difficult to put this into practice in everyday life. However, there is hope that one day, the big escape will be achieved.

Guy and Madeline on a Park Bench is a 2009 American romantic musical film directed, written, produced, shot, and co-edited by Damien Chazelle. The film was the feature directorial debut of the Academy Award-winning director who is known for Whiplash (2014), La La Land (2016), First Man (2018), and Babylon (2022).

After connecting with the shy Madeline, a jazz trumpeter embarks on a quest for a more gregarious paramour, but through a series of twists and turns punctuated by an original score, the two lovers seem destined to be together.

The film score was composed by Justin Hurwitz, who went on to compose the music for Chazelle's other movies, including La La Land (2016) for which Hurwitz received two Academy Awards. Chazelle and Hurwitz met each other at Harvard in their freshman year and soon became friends. They both understood and appreciate each other's work and collaborated ever since.

Guy and Madeline on a Park Bench is available on vinyl for the first time as a limited edition of 500 individually numbered copies on orange & black marbled vinyl and includes a 4-page booklet with lyrics and liner notes by Justin Hurwitz.

German heavy metal legends U.D.O. are back at the starting line with album #19 (!), titled „Touchdown“, which is scheduled for release on August 25th. It’s astonishing, how iconic singer Udo Dirkschneider and his band, who just celebrated two important anniversaries last year (Udo’s 70th birthday, as well as 35 years of U.D.O. band history) now already come up with such a fresh, inspired new piece of heavy art – unmistakably making clear that slowing down has never been an option for them: U.D.O. continue their triumphant success and „Touchdown“ is another impressive addition to the band’s rich legacy.

German heavy metal legends U.D.O. are back at the starting line with album #19 (!), titled „Touchdown“, which is scheduled for release on August 25th. It’s astonishing, how iconic singer Udo Dirkschneider and his band, who just celebrated two important anniversaries last year (Udo’s 70th birthday, as well as 35 years of U.D.O. band history) now already come up with such a fresh, inspired new piece of heavy art – unmistakably making clear that slowing down has never been an option for them: U.D.O. continue their triumphant success and „Touchdown“ is another impressive addition to the band’s rich legacy.

Head hydro-tripper Black Eyes has risen from the depths of the deep to release his debut solo record Hydro-Trip vol 1. Fresh off the sea creature's back from co-producing the 'Planet People - Terra Firma EP' with synth botherer Reedale Rise which came out earlier this year. His solo endeavour takes us on a jazzier vibe yet still keeping true to the deep ways of the water. Lead track 'Understood Sea Being' plunges us on a rugged ride with deep Detroit chords and Black Eyes's own punk-like vocals throughout. 'Let's Get Deeper' slows the pace up with chopped up samples and introduces us to the classic hydro-trip sound we've grown to love down here in the underwater cities; it's deep and trippy. 'Scuba Lyfe' picks up the pace a bit but evolves into a low down dubby groove mixed with some hi-tek jazz. Asking Rolando (who we all know was part of the infamous Underground Resistance and Los Hermanos, as well being a Berghain resident DJ more recently) to come on board the subterranean vessel was an obvious choice for remix. He switches the gears and adds some fluid Detroit techno to finish off the EP. Berlin based Deskai masters the EP who also mastered the Planet People EP so you know what to sonically expect.

The tender and curious songs on the first album by songwriter and preschool teacher Mr Greg and acclaimed indie chameleon Cass McCombs
celebrate the joys of learning and discovery
The pair of longtime friends make connections for young children just beginning
to find their own way in the world and for parents regaining their own childlike
sensibilities. Set to tunes straight from the mold of Ella Jenkins and Woody
Guthrie, the duo sings about the importance of friendship, understanding those
different from yourself, and taking care of your body. They also pay musical
tribute to heroic figures of bravery and justice like Ruth Bader Ginsberg and
Harvey Milk. These songs are bridges to many adventures in the making and
include suggested activities for youngsters to supplement their listening and
exploration.
Coverage in Pitchfork, Stereogum, Under the Radar, Brooklyn Vegan, SPIN, Our
Culture

Nostalgia's Glass" ist das elfte Studioalbum der aus Manchester stammenden und in Berlin lebenden Post-Punk-Kultband The Underground Youth, das am 18. August auf Fuzz Club erscheint. "Nostalgia's Glass wirft einen Blick zurück auf die Musik von The Underground Youth und formt neue Songs in einem Stil, der an die Vergangenheit der Band erinnert", schreibt Bandleader Craig Dyer: "Das Ziel war es, eine Sammlung von Songs zu schaffen, die unserem Backkatalog huldigen und versuchen, nicht nur die positiven, sondern auch die negativen Elemente der Nostalgie zu sezieren, vor allem die Romantisierung der Vergangenheit - sei es die Politik eines Landes, das kontroverse Vermächtnis von Film- und Musikikonen oder die sentimentale Idealisierung längst vergangener toxischer Beziehungen."The Underground Youth wurde 2008 als kreatives Projekt von Craig Dyer gegründet. Die Band, zu der neben Craig nun auch Olya Dyer (Schlagzeug), Leonard Kaage (Gitarre/Produzent) und Samira Zahidi (Bass) gehören, hat im Laufe der Jahre elf Alben und vier EPs veröffentlicht und dabei einen einzigartigen Sound entwickelt, der von cineastischer Lo-Fi-Psychedelia bis hin zu einer rauen und lauten, wenn auch romantisch-melancholischen Form des Post-Punk reicht. Umhüllt von einer dunklen Ästhetik und den Bildern verschiedener Kunstfilmbewegungen haben sich The Underground Youth eine treue weltweite Fangemeinde erspielt, die sie durch ihre ausgedehnten Tourneen durch Europa, Asien und Nordamerika kontinuierlich ausbauen. Vinyl in hellblau, 180gr, Kastentasche, bedruckte Innenhülle, mit DLC

Suff Daddy (578k monthly listeners on Spotify), is one of the legendary beatmakers who shaped a whole era of bedroom producers. His unique approach and musical understanding sets him apart from all the other fish in the pond. He has released countless genre-defining albums and EP’s over the past 15 years building a loyal fanbase. Suff Daddy's songs have previously been featured in many editorial playlists including Spotify's "Jazz Vibes" (2.1M Likes), "BUTTER" (770k Likes), "Sweet Soul Chillout" (1.2M Likes) and many more.

Introducing "Hair Of The Dog," Suff Daddys musical journey that blends instrumental hip-hop, electronic, and dance genres. This captivating album, produced with his own Suff Style invites listeners to unwind From start to finish. Once again a Suff Daddy album thrives on the pure brilliance of his on way to create music. The album's cover art, masterfully crafted by the renowned painter Mitch (@itsallinsideus, 165k Followers), adds an intriguing visual dimension to the experience. Both artists have known each other for a long time and are currently preparing their audiovisual release- event for August 18th in Berlin. Bringing their art together as a unique experience for their audience.

The phrase "Hair of the dog that bit you" commonly denotes consuming alcohol as a remedy for a hangover, aiming to alleviate its effects. Suff Daddy plans to introduce his own hangover solution, which will be plant-based and devoid of alcohol. Through all of his career he frequently played with alcohol references and now its the perfect timing to release his own hangover cure. Additionally, this endeavor will serve as a social media catalyst for the entire project.

Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers – a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade's landscape. Any doubts about Men at Work's quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.

Mastered on our world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay's unique voice takes on life-like dimensions that hover between the speakers.

While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad "Overkill" and politically savvy cynicism of "It's a Mistake," the band furthered their radio domination and extended their run of Top 10 singles. A third hit, "Dr. Heckyll and Mr. Jive," cracked the Top 30. Well-tailored melodies and whimsical imagination definitely had a place in the public's consciousness, and no group understood this more.



As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era's endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.

Rupture are proud to present the debut album from Double O entitled 'Firm Meditation'.

Co-founder of Rupture alongside Mantra, Double O has long been an understated pillar of the crew. After a prolific run of singles, EPs, remixes and Lost Tape releases, the time has come for his first LP.

The album has formed organically; built with honesty and passion - not for money, validation or from any time pressure, but as an illustration of who he is and what he does. Double O approaches creativity straight from the heart and the studio is more than just a daily retreat for him; its been a routine, a necessity and a firm meditation since the early 90s.

Deeply rooted in his history and culture, influences in dub, techno and hardcore are felt throughout. Double O is revered highly amongst the Rupture crew, but he remains humble, true and has returned this respect straight back into his music, to create a body of work that’s spiritual and straight from the soul

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.

The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

The vibrant potency reveals itself openly on an analogue set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.

For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale."

Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves," with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" – join in on the conversation with sharp economy and float-on-air roundedness.

Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colours and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed.

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

The pre-cursor to Mid-Air Thief's cult-acclaimed album Crumbling,
Gongjoon Doduk exhibits a distinct universality, merging disparate
sounds and styles into a cohesive, electronic-infused folk amalgam that tactfully blurs the lines between organic and synthetic
Listeners are led through enrapturing passages of swirling melodies underscored with eloquent plucks, strums, and bursts of bubbly glitches. Individual phrases drift into one another as if in a dream, cohered by entrancing hooks and vocal soundscapes. Gongjoon Doduk is a compelling accomplishment of both composition and production, bending as it does to its unique contours of consonance and dissonance, always resolving to a place of calm and beauty.

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

Post Malone veröffentlicht sein neues Album AUSTIN

Der Superstar ist mit seinem Album „Austin‘‘ zurück.

Bisher konnte der sympathische Superstar mit jedem seiner Alben Platinstatus erreichen! Er ist zudem auf Platz 8 der best-selling Digital Artists aller Zeiten, verzeichnet zwei #1 Billboard Alben („Beerbongs & Bentley” und „Hollywood’s Bleeding”) und hat mit 5 Diamant zertifizierten Songs die zweit meisten Diamant-Songs der Geschichte. Das Album enthält die zwei vorab erschienen Singles ”Chemical” & ”Mourning”.

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

Soul music originated in the African American community throughout the United States in the late 50s and 60s. Having its roots in African American gospel music and rhythm & blues, it became popular for dancing and listening with prominent record labels as Motown, Atlantic and Stax.

On this 2LP compilation classic soul songs by Curtis Mayfield, Marlene Shaw, Bill Withers, and Aretha Franklin are paired with funky soul stompers by James Brown, Sly & The Family Stone, The Isley Brothers, and poetic soul by Gil Scott-Heron, Marvin Gaye, The Impressions and many more influential artists and groups.

Soul Collected is available as a limited edition of 2000 individually numbered copies on yellow (LP2) and orange (LP2) coloured vinyl and includes an insert.

La Tragédie D’Oreste Et Électre is the high-water mark of Cranes’ work in a specifically high-art realm. Recorded before the release of 1993’s Loved, its release was held up until 1996 due to copyright clearance issues from the estate of French existentialist Jean-Paul Sartre, whose work is used as the album’s lyrics.

Highlights from the release include “Danse D’Electre,” a gentle piece that turns into a haunting wash of ambient sound, and the understated chills of “Au Temple,” one of Shaw’s best vocal turns on the album.

La Tragédie D’Oreste Et Électre is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on crystal clear vinyl. The package includes a 16-page booklet containing all the story notes for the adaptation in both English and French.

The Waterboys’ ninth studio album is made available on vinyl for the first time, in limited edition ‘sunrise’ yellow. Originally released in 2007, ‘Book Of Lightning’ was mostly recorded at the former Island Studios in West London. Alongside Mike Scott and Steve Wickham, the album features contributions from pianist Richard Naiff, keyboard mystic Thighpaulsaandra, guitar ace Leo Abrahams and two killer drummers, Jeremy Stacey and Brady Blade. Selections include the understated country rock epic She Tried To Hold Me, the beautiful Sustain, recorded with members of Canadian band Great Aunt Ida, and two songs written for but not recorded during the classic Fisherman's Blues album sessions: Everybody Takes A Tumble and The Man With The Wind At His Heels. Reviewing the album in The Guardian, Dave Simpson said that Scott's songs, “feel like they have been handed to him from a crack in the clouds”. The vinyl format is 180g Sunrise yellow coloured vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

Bosq & Kaleta return for the second single off their forthcoming full length album. Uplifiting Afro Disco & Funk are the name of the game on this beautiful release with artwork by Amanda Lobos from Brasil.

It's not possible to pick an A & B side between these two quality cuts, recorded between Bosq's Medellin Studio, NYC & Cotonou, Benin (one of Kelata's hometowns).

Sonayon is a midtempo summertime Afro Disco burner that almost doesn't need a translation from it's Gun (A language native to Benin and some parts of Southern Nigeria) lyrics for you to understand that it speaks of overcoming hardship & brighter days ahead.

Meji Meji, loosely meaning something akin to "two heads are better than one" in Yoruba takes a similarly positive stance, with Kaleta singing about unity over division on a heavy Disco Funk groove with blistering horns and heavy percussion.

Both sides already getting heavy support on dancefloors worldwide.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

First proper album by Settima Tacca, aka Apollinariya Kaspars from Moscow.

"Here’s a vinyl edition of an album i recorded in 2021 with a few extras that have been added quite recently for the sake of making it into a full LP (thanks to the initiative of HHR). i have recorded the whole thing at my home studio with an upright piano, two of my favorite polyphonic analog synths - korg polysix and roland juno 60, and a greco stratocaster, that i have bought accidentally because i understand nothing about guitars. the main material for this album was composed around 2017, when entering my mid-twenties and trying to overcome the disenchantments of some crucial personal realms of human life.
as for the later added instrumentals (1,4,9,10) i have kept the sonic consistency intact but with way more hopeful spirits during the process. despite this ambivalent intervention from the future, this work feels even more complete to me now."

In addition to his day job transforming pop music with his own records, as well as those of Gastr del Sol, Loose Fur and Sonic Youth over the past few decades, Jim O"Rourke has been contracted for several dozen film scores over the years as well. It makes sense - his abilities as an improviser, composer and producer allow him to interpret cinematic moments with a unique understanding for their construction and how they work. It doesn"t hurt that Jim"s a well-versed cineaste, a complete and total fan of watching films, which has given him a preternatural understanding of the role of music in movies. What doesn"t make sense is how Hands That Bind is the first film soundtrack of Jim"s to ever receive worldwide release! He"s worked with filmmakers of international repute, like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu! He served as music consultant on Richard Linklater"s 2003 laff-fest, School of Rock! He"s played in ensembles of award-winning documentaries and films alike! Throw the guy an internationally-promoted soundtrack LP every more often, why doncha? It was left to the "suits" of Drag City Records to innovate, once again, by taking a leap on an O"Rourke work. Made for an indie film that"s been seen by festival audiences and not enough others, the soundtrack for Hands That Bind is a moody, atmospheric delight. Jim"s roots in composition via tape-editing have evolved into a sophisticated assembly of found-and-processed sounds that achieve highly musical, near-orchestral majesty as they hang in the very air of the drama that unfolds in Kyle Armstrong"s Hands That Bind. Described as a "slow-burn prairie gothic drama" set in the farmland of Canada"s Alberta province, and starring Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, Hands That Bind is a spellbinding trip to the existential bone of rural working life in North America. As conflict rises over the hard-worked patches of land that provide a mere and mean existence, a desperate air settles in, as a series of mysterious, often supernatural occurrences rock the small community. O"Rourke"s vaporous, serpentine musical backdrops and atmospheres reflect the obsessions and distractions of the film"s principles; moods of all sorts seen or otherwise implied. Additionally, the music highlights cinematographer Mike McLaughlin"s closely observed accounting of the farmers" environment, as well as the striking widescreen images of the big sky country with unnerving flair. For fans of Jim"s ongoing steamroom series as well as collectors of soundtracks, Hands That Bind will provide hours of engrossing listening. And if you get a chance, see the movie projected in a movie house, please - farmers aren"t the only ones struggling these days!

Our label is thrilled to share yet another mind-blowing electro/proto-techno track by Art Programming (Art P), following the release of "Genscher Pull N Push". This track was originally the final piece on their self-titled album, released on cassette in 1983 under the P.A.P. label from Bremen.

To this day, the track remains almost completely unknown within collector's circles. However, let's take a moment to imagine what might have happened had the recording been released as a vinyl 12" back in 1983. Could it have been a game changer? We will never know for sure. Nevertheless, one thing is certain: with its punchy Roland 808 rhythms, and catchy synth lines and vocoder, it undoubtedly qualifies as a classic German electro track, and one of the earliest techno/proto-techno recordings.

At almost 8 minutes in length, this track includes one of the most exhilarating breaks in electro music of that era, showcasing extensive drum editing and effects. It strongly resembles the sound that Detroit would become famous for in the years to come, but make no mistake - this record was produced straight out of Bremen, a relatively small city in Northern Germany.

For the flip side of the single, we enlisted Alexander Arpeggio, the owner of Mond Musik und Eine Welt label, to edit the track while preserving its original spirit. As a member of the acid techno project Aufgang B and the synth-pop minimal duo OTTO, he not only has a deep understanding for this kind of music but also possesses the ability to give the song a different feel with greater dancefloor appeal. He has slightly reduced the tempo of the track and emphasized the instrumental and break parts, resulting in an exciting remix that is DJ-friendly and has everything you could ask for.

The 12" release comes with the original Art Programming logo in a vintage style, packaged in a generic black sleeve with hype sticker. It is limited to only 200 copies. This is a serious gem that you won't want to miss out on, so act fast!

Part fantastical historic sonic biopic, part anthropologic
journey into the deep roots of Belgium’s monstrous
cosmic rock sound, this wholly individualistic concept
album combines the lead members of the mighty COS
(Daniel Schell and Pascale Son) with studio genius
Alain Pierre (Ô Sidarta / Des morts) and celebrated
Dutch progressive rock singer Dick Annegarn, for what
many consider to be both the overlooked hiding place
of Belgium’s deepest psychedelic moment and
European prog’s lost map to the ‘Franco-Flemish
Boom’.
 Emerging from the wider musical family that counted
Marc Moulin, Placebo and Marc Hollander amongst its
creative kin, Daniel Schell’s most profound conceptual
project ambitiously combines the tale of the heroic
historical figure of Count Egmont (1522–1568), while
simultaneously tracing the evolution of the ud, or oud,
(‘the grandfather of the guitar’) in this multifarious
hallucinogenic epic.
 Featuring key members of other collectable groups
such as drummer Felix Simtaine from Solis Lacus and
bass player Jean-Louis Baudoin from the mythical
Classroom (COS predecessor), this best-kept secret
vinyl release also harbours the voices of Dirk Bogaert
(of Belgian hard rockers Waterloo), as well as Catalan
singer Ilona Chale (Marc Hollander / Aksak Maboul)
before her later tenure as the COS front woman.
 Initially released in 1978 via Zeuhl school distributors
Free Bird alongside French pressings of Don Cherry,
Jacques Thollot and CAN, it is plain to understand the
niche nature of this maligned ‘lost COS’ LP as it finally
blooms from between the cracked branches of
European jazz-rock-synth-psych-prog-pop history…
and beyond

A1 - Interconnected

Taking the reigns again for his latest solo EP, Aural Imbalance opens in style as Interconnected blends delicate keys and ambient soundscapes swirling together creating a sumptuous, serene intro before brisk amen patterns gently roll their way into the mix, filtered perfectly and set over silky, graceful 808 undertone bass, transporting your mind across the oceans to distant shores - while equally catering for the discerning dancefloor.

A2 - Solitude

Aural Imbalance showcases all aspects of his incredible production journey on Spatial with Solitude, an anthemic, almost spiritual track with enveloping escalating swathes of powerful somber mood ambience, set upon finely crafted rousing drum patterns which punctuate proceedings perfectly. Solitude is a track which lives long in the memory - it is an experience you will identify with on your own level, within, as the title suggests.

AA1 - Subliminal Messages

A melancholic, unnerving amtmosphere introduces Subliminal Messages, shaped with enchanting synthwork and light hi hats, accentuating a mournful audio landscape. As the tightly constructed breakbeats unfold, immersive sub bass adds depth and presence to the mix and the listener is taken on a meditative voyage to the inner spirit, challenged to understand and reflect.

AA2 - Sentience

Closing the EP, Aural Imbalance shakes things up again as Sentience carves a more upbeat vibe, a beautiful addictive earworm melody composed with gently refined keys instantly grabbing the attention. Filtered breaks are slowly introduced before announcing themselves fully, a sublime drum loop layering a dynamic percussive energy as the catchy melody captivates us throughout.

Somewhere in the Lower-Franconian vineyards lies a hidden and mostly unknown canyon, a place that often returns to the thoughts and dreams of Läuten der Seele’s Christian Schoppik. Though a much rarer occurrence now as a consequence of environmental change, chance encounters upon the area in the past would sometimes reveal small ponds amongst the reeds, teeming with life and populated by colonies of newts and the now endangered yellow bellied toad. The transience of the water and the wildlife it hosts, dependent on season or climate, lends the area an almost fantastical, dream-like quality. Was it ever even there at all? A secret place that may or may not be present holds vast appeal to some enquiring minds… Ertrunken Im Seichtesten Gewässer, the third Läuten der Seele album in two years, is inspired directly by these experiences. Translating as ‘drowned in the shallowest stretch of water’, a title as pregnant with dread as it is wonder, the themes present speak both to personal memories and a wider understanding of place and time, and how we might interpret our own position within an ever-changing, sometimes disappearing world.

The record is presented as two long-form pieces divided into four separate movements, each titled so as to reflect this natural environment and its intersection with imagination, relying on processes of collage that draw from myriad indeterminable samples, field recordings and various recorded instruments. Those familiar with Schoppik’s work, both as Läuten der Seele and with Brannten Schnüre, will find present many of his signature tropes - the way deeply layered collages render abstracted visions of the past alive in the present - though what is always significant about his approach is not so much aesthetic as the wider concepts it attempts to express and emote. Indeed, emotional response is key to the Läuten der Seele sound, how overlapping notions of nostalgia, memory and identity calibrate experience and understanding of who we are and the world around us, whether it’s a world that’s gone or another imagined into being. If you observe the artwork closely enough, you may find a clue as to the canyon’s location, though such specifics are besides the point. The music itself infers a wider sense of the impermanence that characterises hidden worlds, wherever they might be or whoever they might belong to.

"Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes.

Growing up in a small village in southern Germany, Bastian Epple was never interested in kitschy folk sounds, rather he took solace in the time he would spend meditating to repetitive and hypnotic patterns. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to tread on this self-taught path of developing his own musical language. This led him to start experimenting with a tape recorder and layering sounds with non-musical samples to eventually working with a DAW.

Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe and graduated with a diploma in film and documentary media - where he now works as a freelance filmmaker and lecturer at Stuttgart Media University. However, this never stopped him from creating and playing with wide-eyed sounds, eventually amassing a vast collection of tunes and finally emerging from this anonymity.

Utilizing modular synth, self made tape echos, synthetic sounds, recordings of ethnic percussion and guitar, MinaeMinae understands musical material similar to documentary footage which he would splice, repitch, and rearrange intuitively into captivating worlds."