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What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

This is the third set in our Soul Slabs sets, which compiles tracks from our diverse 45 releases showcasing artists big and small. It's a great way for folks to discover some of our lesser known artists or just discover our label's sound. Record shops have previously described our compilations as their RSD soundtrack! Our previous compilations have always sold out the day of (nearly) and maintained demand even upon the black vinyl represses.

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

A co-founder of the P-Funk movement, Clarence Eugene ""Fuzzy"" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released two landmark solo albums on Westbound Records: `A Whole Nother Thang' in 1976 and `Radio Active' in 1978. With his brand of earthy & heavyweight funk, Fuzzy Haskins' solo works fits right in with many of the other great P-Funk side projects and was sampled by renowned artists and acts from the likes of Prince, The Prodigy, N.W.A and Fatboy Slim.On the album we are presenting you today (Radio Active from 1978) you'll find eight sublime tracks written (or co-written) by Mr. Haskins himself and recorded by Richard Becker at the legendary PAC 3 Recording Studios in Dearborn, Michigan where classic albums from Norman Feels and Dennis Coffey were born. One of the tracks (Woman) was personally mixed for the album by Tom Moulton (the originator of musical revolutions like `the remix', `the breakdown section' and the `12inch single vinyl format').Fuzzy switched between drums and guitar, while taking charge of the lead vocals and production, he was accompanied in the studio by an all-star musician line-up of P-Funk family members such as Jerome `Bigfoot' Brailey (drums), Cordell `Boogie' Mossom (bass), Gary Shider & Michael Hampton (guitars), Glen Goins (piano, drums & guitar)_and of course the fantastic Mr. Bernie Worrell on keyboards. Besides these Parliament/Funkadelic alumni, also present on the recordings are Bruce Nazarian (The Temptations) on Moog and Jazz pianist Gary Schunk (known for his collaborations with Marcus Belgrave & Wendell Harrison).The result of all this musicianship was a record that oozed quality. Despite the quality of the music (and just like with `A Whole Nother Thang') the album didn't sell the vast quantities that were projected and didn't reach the audience it deserved.`Radio Active' is filled with keyboard-driven spacey funk, sharp hooks, popping bass-lines, JB styled soulful (yet sexy) vocals, a hint of disco, fantastic guitar build-ups and breaks that make you shake_a true gem that deserves a place in your record collection (mint vinyl copies are hard to find and pricey these days). If you are a Funkateer_this one's for you! This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork created by virtuoso Ronald Edwards (known for his graphic work with Parliament-Funkadelic, Bootsy Collins, Fred Wesley, George Clinton, Maceo Parker, Bernie Worrell, Fishbone_and countless others). To top it all off, this release also includes an insert featuring the original liner notes written in 1994 by renowned author and producer Rob Bowman (Otis Redding, Isaac Hayes, Marvin Gaye) who reflects on Fuzzy Haskins' two solo albums.

In many ways Kumoyo Island represents the culmination of a journey for Kikagaku Moyo. While their decade-long career can be summarized as a series of kaleidoscopic explorations through lands and dimensions far and near, there's a strong intention in each of their works to take the listener to a particular place, however real or abstract they may be. In that sense, the title and cover art for the band's fifth and final album draws you into a magical mass of land surrounded by water-but the couch suggests that Kumoyo Island may not be a fleeting stop, but rather a place of respite, where one could pause and take it all in. Reconvening at Tsubame Studios in Asakusabashi, Tokyo, where their earliest material had been recorded, the five members of Kikagaku Moyo found new inspiration in a familiar and comfortable environment. With their adopted homebase of Amsterdam under lockdown and their touring activities halted due to the pandemic, the band felt a renewed sense of freedom being back in shitamachi, or the old downtown area of their hometown. With unrestricted time in the studio, they began to build upon the demos and song fragments they'd amassed since their last tour. In the 1.5 months spent in Tokyo, everything started to come together. "Monaka", its name taken from a type of Japanese wafer sweets, takes melodic inspiration from traditional minyo folk styles, while "Yayoi Iyayoi" is a rare instance of the band singing in their native tongue, its evocative lyrics utilizing archaic words taken from old poetry and nature books found in one of the many secondhand bookstores of Tokyo. For "Meu Mar", an Erasmos Carlos cover, the original Portuguese lyrics were translated into English, then to Japanese. Strangely enough, the words seem to conjure an image of the protagonist floating among the clouds, looking down upon Tokyo Bay. In fact, it may be possible to draw a parallel between the topography of the band's home country-an island nation, surrounded by bodies of water-and the mysterious isle of Kumoyo. Are they one and the same? Has the band finally made it back home? It's up to the listener to decide.

What happens when you let go of something you've always been passionate about? Will it come back? And if so, in what ways and with what impact?
These questions laid the foundation for Toby Whyle's debut album 'Call It A Night'.

It is a journey to find out what feels right to him-this means escaping old patterns and allowing himself to try new things. Musically, he exposes himself unreservedly to the gravitational forces of electronic music and guitar pop by orbiting these points of attraction without ever really getting caught by either of them. Each song moves along its own trajectory, fueled by Toby's thoughts and experiences.

His first single, 'No One Moves', hitting number 1 on the FM4 charts in early 2021, marked the beginning of a new adventure-a journey upon which Toby embarks entirely on his own for the first time. After his first EP, 'A Mood Of Its Own', and the release of further singles, the debut album 'Call It A Night' will be out on May 20th, 2022, on Matches Music.

PRESSTEXT
Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realisation that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever.

In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. " Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it", he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through.

Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.

A previously unreleased project of Henning Christiansen, monumental in scope, traversing years, countries and now, formats. The Henning Christiansen Archive is proud to finally present one of the crown jewels of the archive, the masterpiece ‘Penthesilea’ as a 2LP and 5CD set. Both limited to 300 copies. Pentheseila is one of the most ambitious works in the entire Henning Christiansen oeuvre. A large-scale work from the mid eighties based on the play of the same name by Heinrich von Kleist (1808). Both Henning and his widow, Ursula Reuter Christiansen, were enthusiastic about Kleist’s text, both making works around the themes within this portent text. Henning Christiansen first developed a work around this text for the Rosenfest festival performed in Berlin in 1984. Rosenfest was curated by René Block and featured a variety of composers presenting works in response to Kleist’s work including Robert Ashley, “Blue” Gene Tyranny etc. Henning formulated a composition utilising tape, field recordings, voice, soprano, and violoncello alongside the home made instruments of Werner Durand. The live presentation was then expanded upon and first performed two years later at Teatro Olímpico, Rome on the 8th November 1986 as directed by Carlo Quartucci. The two releases presented here include a 2 x vinyl LP of the Rosenfest recordings in 1984 and a 5CD set sharing the four and a half hour backing track prepared for the Teatro Olímpico performance in Rome in 1986. Together these two releases make up a substantial overview of one of the most significant works in the entire Christiansen canon. THE REALITY IS A GHOST IN MY MIND (LP1) is a work that unfolds patiently with a mix of field recordings; wind, bird song and the sound of snow being crushed underfoot all unite in a foreboding atmosphere. IN PENTHESILEAS HÖHLE (LP2) features electronic treatments to the original field recordings found on THE REALITY IS A GHOST IN MY MIND, a representation of psychological reorientation perhaps? A deep ground tone (or ROOT as Henning calls it) leads the listener through a variety of realistic and unrealistic environments. As Henning says in his essay reprinted on the back sleeve: “Then comes a section where the field recordings of the sea, the storm, birds, cars and other things, are built together so that the realism of these sounds become unreal. For example the cars drive into the sea and the birds are singing within the storm. When you hear footsteps in the show, it’s Kleist sneaking past Deutsche Schauspielhaus. When you hear a deep, human sleeping noise, it’s Achilles sleeping. When you hear hammering it’s the weapon smith working. When you hear a stone being thrown it means the unanswered question: “Who threw the first stone?” These recordings lead to the finale where Carla Tatò’s haunted vocals into her singing mournfully along with Jan Tilman Schade’s violoncello and tuba, then a chainsaw appears. Presented in a deluxe di-cut sleeve with writings by Ursula Reuter Christiansen and Henning Christiansen and adorned with an artwork, Penthesilea by Ursula Reuter Christiansen, 1983.

2022 repress

Official LP reissue of 'Peace & Harmony' by Nigerian funk royalty Harry Mosco, Originally released in 1979. Incl the big tracks ''Sexy Dancer'', ''Step On'' and ''Do It Together''

Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue.

Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.

‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

Chart-topping, multi-platinum rap superstar YoungBoy Never Broke Again’s huge album, SINCERELY, KENTRELL is available on Vinyl.

SINCERELY, KENTRELL serves as a testament to YoungBoy’s remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart and soul over 21 featureless tracks. The album sees YoungBoy joined in the studio by a number of longtime collaborators and rising new producers, including Dubba-AA, Mike Laury, TnTXD & Dmac, Smashdavid (Big Sean, Chris Brown, Khalid, Bad Bunny), MikeWillMadeIt (Kendrick Lamar, Rae Sremmurd, Eminem, Beyonce), and TayTayMadeIt (Roddy Ricch, Swae Lee, Jack Harlow).

With 76 total RIAA certifications and over 72.5M certified units under his belt thus far, YoungBoy Never Broke Again is without question among the landmark hip-hop artists of this or any era. 2020 and 2021 have both seen him become America’s #1 most video on demand streamed artist of any genre. His second studio Album, Top, is officially platinum certified after an explosive debut at #1 on the SoundScan/Billboard 200 upon its September 2020 release. YoungBoy was also last year’s #3 most audio on demand streamed artist industrywide and is currently #5 for 2021 thus far and it serves as a testament to his remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart & soul.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME [“return to emo roots coupled with a post-hardcore edge…intense melodies”]. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME “return to emo roots coupled with a post-hardcore edge…intense melodies”. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

**JAPANESE IMPORT CD NOW AVAILABLE TO PRE-ORDER FOR 12TH AUG**

Iconic indie folk pop duo from Galaxie 500 return with a dreamy collaboration with atmospheric Japanese guitarist Kurihara.

“With its meditative tempos and enveloping guitar work by Michio Kurihara—‘it’s like this golden net,’ Naomi said of his gorgeous, versatile playing—A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that’s not accidental: Kurihara hasn’t traveled outside of Japan in some time, so Damon and Naomi hadn’t recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music.

“In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image—after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he’d witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent ‘Season Without Time,’ which also became a tribute to a friend that she and Damon had lost in the last year.

“From there, the floodgates opened. The wistful and watery ‘Midnight’ (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi’s nostalgia for youthful summers spent at Jones Beach, while the gentle current of ‘Sailing By’ pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name.”
—Lindsay Zoladz

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more than four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Mastered on our world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.

"Is it rolling, Bob?," Dylan famously queries producer Bob Johnston at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album – arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.

This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.

Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.

As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.