Search:urge

LP colour is Transparent Blue. Stu Spasm (Lubricated Goat) + Russell Simins (Jon Spencer Blues Explosion) + Kate Bjelland (Babes In Toyland). One off garage-sleaze rock masterpiece. Remastered. Crunt began in 1993 as a kind of indie rock supergroup and had their 1994 debut album touted by Pearl Jam's Eddie Vedder. Crunt's members included guitarist/vocalist Stuart Gray (aka Stu Spasm) and bassist/vocalist Kat Bjelland. Gray was well-known in Australia by the start of Crunt for his past involvement in the bands Salamander Jim and the horn/guitar punk rock of Lubricated Goat, which included drummer Martin Bland who went on to play in the Monkeywrench. As for Bjelland, she was the frontwoman/guitarist for the Minnesota-based Babes in Toyland. Crunt was rounded out by drummer Russell Simins, who was the full-time sticksman for New York City's Jon Spencer Blues Explosion. Each of Crunt's members were temporarily residing in Seattle when Gray conjured up the idea of starting a new group. After writing almost a dozen songs, the trio entered Seattle's Ranch studio in February of 1993 with Simins and Gray acting as the producers, and their friend John Dunleavy -- known for his work with the Supersuckers -- filling the role of engineer. A year passed before the group's self-titled album was released on February 15, 1994, on Austin, TX label Trance Syndicate, owned by Butthole Surfers' drummer King Coffey. The record was the imprint's first release from a non-Texas group. The debut of the full-length album coincided with the "Swine"/"Sexy" single on Australia's Insipid label, which was known for releasing singles by other bands such as the Cows, Urge Overkill, and the Jesus Lizard. Prior to the releases, there had been talk that the band was not going to just be a side project, but a full-time band in the same tradition as Babes in Toyland and the Blues Explosion. The trio had even planned a full-scale tour. By January of 1995, however, Crunt came to an end.

We return with the second Glenn Davis” 12”, a year on from his last Yore twelve-inch “Soul On My Side”, Dublin-based DJ and producer Glenn Davis returns with its sequel, the as-stellar Better Daze. The EP's melodic, soulful sound. The dynamic title cut locks in instantly with a pumping kick drum and builds layer by layer thereafter. Percussion, hi-hats, electric piano chords, and synthesizers add to the thrust of the production as it grows ever more urgent. As the track advances, Davis drapes a jazzy keyboard solo across the booming base as the swing swells to a near-ecstatic level. “Your Time” rounds out the A-side with a cut that suggests pure energy at its outset before quickly morphing into a sleek house strut. With percussion included and late-night synth atmospherics folded in, the breezy tune starts to sound like something you'd hear banging out on the Dancefloor thats surrounding you.

On the flip, Davis brings the skipping house groove of "Inner Monologue” to a fever while. Moody chords, hand drums, and a snappy groove set the scene. The female vocalist's soulful delivery and vibes-like earworm that make the tune the standout it is. Think of a dark Room and a red light bulb & House Music forever and a day.

(Amsterdam | NL) Surrender to the call of NowNow Records as the imprint from Lee Ann Roberts' sets the release of its first V/A compilation. Featuring Aida Arko, Brecc, Blicz, and Geerson, NowNow Various 1 sets the space between the subtlety and soul of Hard Techno with a tasting of proper talent. Pre-orders are available starting on 30 September 2022.

The now Amsterdam-based South African artist, Robert's created NowNow Records as a destination for communities and cultures to come together in sonic bliss. NowNow Records has championed off-the-grid Techno through its inherent state of urgency since Robert's kicked off the imprint with 2021's I Want You Ep. Since, NowNow Records has been celebrated as a go-to destination for the harder edges of Techno, with releases from WarinD, OGUZ, Ana Lilia, and Benny Guzi all offering their respective takes on this unmistakably relentless sound.

After two successful years, NowNow Records' first V/A features Vienna's Aida Arko, whose A Long Night Into Dunwall kicks things off with her typically industrial, dark, and percussive groove before melding into Brecc's appropriately titled Praise the Rave. The Utrecht-based artist, known for his relentlessly energetic sets, draws from much experience with this one, and it shows! Next, Paris' enigmatic Blicz lets the music do the talking with Independance Night before fellow Frenchmen Geerson closes the affair with the bonafide banger, Domenical Mass.

The complete release is not one for the faint of heart but definitely for those looking for that moment where the music takes you travelling without ever having to leave where you are.

Max Loderbauer’s career in music spans the last 3 decades, yet he’s still managed to keep his listeners hungry by releasing only 3 solo albums to date. Two of those releases (Transparenz, 2013 and Donnerwetter, 2020) were on Tobias Freund’s label Non Standard Productions - his long time collaborator and Templehof studio mate. In between those releases, Loderbauer graced Marionette with Greyland in 2016, revealing a previously unheard youthful and sentimental side. Now in 2022, the seasoned mind voyager is back with Petrichor, making yet another rare and treasurable solo appearance.

Petrichor distills the elements of Loderbauer’s work that are fundamental to the initiation of the label. With his Buchla, modular synth, and Haken fingerboard, Loderbauer’s improvised studio maneuvers dilate into imagined journeys from glacial peaks into the exosphere. This is Maxi at his most exhilarating state, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease - all while maintaining a sense of grace and elegance. Petrichor is a reflection of Loderbauer’s impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though it's woven into the fabric of the fauna and flora.

Legendary collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric in the early nineties, and the newly formed Ambiq ensemble have gained this unique artist the respect of the underground and avant garde scenes alike.

‘Learning To Dissolve’ is the punctuation on a journey that began with 2017’s ‘Sounds of Loss’. From the inception, ORTHODOX were nothing short of a standout, blending together riffs that wouldn’t be out of place on a Slipknot record coupled with Easterling’s blunt, Jonathan Davis-esque howls. But, like their sonic brethren in Knocked Loose or Vein.FM, while the influence of the 90’s/00’s is there, ORTHODOX doesn’t merely pay homage to their influences, it exceeds them. ‘From the beginning, we went in our own direction regardless of what anybody thought,’ states Adam. ‘We didn’t grow up listening to hardcore. We grew up on bands like Linkin Park and System of a Down.’ With ‘Learning to Dissolve’, those influences have refined themselves into a sound that is urgent and unforgettable from the album’s opening track, ‘Feel It Linger’ to the personal and aural meltdown of closer, ‘Voice in The Choir’. ORTHODOX ‘Learning To Dissolve’ is available as: Ltd. CD Digipak, 180g black LP+CD, Digital Album.

Taupe's imprint Colours proudly presents another palate of delicate musical brush strokes that aims to captivate and bounce its spectator. While Taupe's refines his art, this ep has the audacity to retain itself and focus on balance and control. It's a wonderful slice of wax that has many hidden sides to it, which for that reason make it a marvelous mystery to listen to. The ep starts off with a wish-wash of stabs, creating a pressing feeling of urge and uncertainty. Whilst its progressing, things seem to shake and tumble, but never falling. The inner A-side, however, has a clear purpose! An all-present tom knocks your socks off right off the bat, followed by a moist atmosphere and an appetizing hat. While A1 aims to disorient, A2 transports you right to an intimate car-drive at 5am. Flipping the wax won't flip the theme. B1 Perpetuates the feeling of nostalgia and unknowingness by tempting and dissolving the listener with fairytale-worthy arps. Swaying from left to right, follow this dream ride! And to top off this marvelous ride, B2 gently pushes the brake in order to ascertain a comfortable speed that is exquisite for some old-skool head-bobbing. Absorb that addictive bounce!

Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa. For thirty-four years — 1964 -1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focussed by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — 'a spiritual offering to my ancestors' — and plenty of Sun Ra, with whom The Natives several times shared double-bills. (Xaba was to become close with Phil Cohran and the AACM.) Freedom is a gutbucket-soul rendition of the people's anthem; Nomusa is dedicated to Xaba's new wife, a poet and CORE activist from Chicago. The thunderous finale Makhosi features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed. Hats off to Matsuli for this outstanding reissue.

Ranging from sanguine emotional clarity to distortion and unrest, Wow Sailor voyages through sunlight and storms in this mindful and explorative album. Happy Fear is an intricate tapestry of emotional experience, where fear and joy clash heads in the pursuit of self-understanding. Scattered field recordings of literature, ambiance and chance encounters provide atmospheric depth to enrich a resonant and meditative soundscape.

This tale begins with fond yet powerful nostalgia, before segueing into a range of hybrid instrumental explorations in which guitar, voice, violin, and trumpet blossom alongside refined electronic foundations. The album closes off with indulgent melancholia reminiscent of the opening, providing lifelike circularity to the album.

All songs remain connected; one leading into another without pause or silence. This urges the listener to digest the work in a single sitting as elements of the story seem intrinsically connected.

The first half is studded with gems of atmospheric conversation and recordings, providing a living and textured environment for the crafted synthetic sounds of Wow Sailor to evolve. Most songs are free from percussive structures, but In Her Gaze breaks the mold with clear percussive dictate. The middle and latter titles are connected by ominous frequencies that err on the darker side of curiosity - encouraging exploration into the transformative power of fear.

All in all, the work glimmers with spontaneity and diversity that resembles real-life experience. Carefully crafted sonic interplays bare semblance to the fluctuating emotional life of the ever sensitive and sentient human being.

Dugnad Rec sits at the helm of yet another wonderfully creative and philosophical work. This release gives verity to the artistic integrity, sound design, and mental exploration of the label. Wow Sailor’s work radiates an enticing, authentic, and indelible mark of individuality.

The Deer have built a devoted audience for their uninhibited, cosmic indie folk the old-fashioned way: playing their hearts out, night after night. In addition to extensive headlining, they’ve shared stages with the likes of Big Thief and The Head and The Heart. Their label debut Do No Harm, released in 2019, marked a set of career breakthroughs, topping the KUTX chart and earning a nomination for the Austin Music Awards’ Album of the Year. When live music took global pause, The Deer had momentum to sort. The five musicians took the energy reserved for tour and brought it into the studio, a pressure cooker not only for creativity but newly, for existential reflection. The result is two full albums, the first of which, The Beautiful Undead, will be released September 9, 2022, on tastemaking indie Keeled Scales. It’s an uninhibited collection of cosmic indie-folk reflecting upon what it means to lose your sense of purpose. The Deer, amidst turbulent assessment, transformed a paralyzing void into an empowering surrender of ego a rollicking submission to the immense unpredictability of existing. It's a free-spirited album fueled by hard-earned revelation. The rich are getting richer, the poor are getting poorer, the planet is getting warmer, and human extinction looms likely. The Deer handle their devastated call for change with an artful subtlety, an infectious sense of play, and a projection of internal learning onto the external world. Their genius is in creating palpable, emotional urgency not with boisterousness, but fact. Throughout The Beautiful Undead, The Deer radiate an intensity fit for the times, but not at the cost of dancing. Also Available From The Deer: Do No Harm LP / CD. Track listing: SIDE A: 1. Bellwether 2. I Wouldn’t Recognize Me 3. Baby Green 4. Columns 5. Lilacs SIDE B: 6. The Lion Or The Bear 7. Six-Pointed Star 8. Golden Broken Record 9. Up I Presume 10. Bowl

Ekin Fil returns to the guitar on Dora Agora. Her earliest recordings, notably her debut on Root Strata, prominently featured guitar in this urgent expressions of a dreamy dreariness that immediately offered enthusiastic comparisons to Grouper. In her development as composer of ephemeral ghostliness for numerous albums as well as her scores to film soundtracks, that instrument has given way to keyboards, organs, synths, and various mood engineering devices, in her beautifully melancholy pursuits of an emotional emptiness through sound. Yet, the pandemic era gave Ekin pause to reflect on her creative process and she picked that instrument back up to create one of her greatest albums to date.

As direct and urgent as these songs can be, Ekin swaddles her acoustic guitar chords in soft-focus reverb and polyphonous shadow, colored with a judicious amount of shoegazing drone and somber atmosphere that speaks to her continued development as a composer. "Ghost Boy" in particular is a bittersweet, wistful tune whose arrangement harkens to Johnny Marr at his peak of effortless downer simplicity. "Farba" and "Yo Feelings" turn the emotional screws with soul-crush crescendos of vocal melodies that build upon Ekin's lonely guitar chords. Again, Grouper emerges as one of Ekin's closest neighbors, alongside Carla Dal Forno, Slowdive's Pygmallion, and Movietone.

"I really feel like I've gone back to a time when I was recording songs with a guitar and keyboard when I was very young. It's kind of like embracing Ekin from that period with my current ideas & mood. it's an homage, it's a wave, a hug from my present to my past…" (Ekin Fil, August 2022)

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

Following the release of their critically acclaimed self-titled debut EP in 2021, Antwerp's Lucid Lucia are set to release their debut album 'Ever-changing Light' on the 7th October via the groove-obsessed Belgian tastemaker label, Sdban Ultra.

Searching to unwrap the mystery that is a human life, across nine tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie's 'Head Hunters' and Miles' acid funk of the mid-70s for inspiration.

'Ever-changing Light' is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats unite, resulting in an uplifting and joyous celebration of jazz, funk and groove. From the loose, laidback stylings of 'Mumpsimus' and the jazz-funk odyssey that is 'Pigeons' to the sonic wonders of 'Reminiscence' and urgent flow of 'Quanked', Lucid Lucia is a marvelous journey of luminous sounds and vibrant rhythms. Elsewhere, the warped aesthetics of 'Oneironauts' and improv 'Pukti part 1' showcase a tight rhythm section, inventive horns, funky keys and guitar while the spiritual magnum opus 'Voor Pieter A.' is a magical example of the virtuosity of Lucid Lucia.

Born from the ashes of fusion outfit BRZZVLL, Lucid Lucia were founded by saxophonist Vincent Brijs, a household name in Antwerp and the Belgian jazz scene. Former winners of the Jong Jazztalent Gent, BRZZVLL released their debut album 'Days of Thunder, Days of Grace' in 2008 and would go on to release five more albums including teaming up with Trinidad-born poet, novelist and musician Anthony Joseph on the 2014 critically acclaimed album 'Engines' and with hip-hop MC, writer and producer Amir Sulaiman on the 2016 album 'First Let's Dance'. The 2017 album 'Waiho', the band's first instumental album and final album received glowing praise from numerous tastemakers including UNCUT magazine, The Line of Best Fit, XLR8R and Record Collector magazine.

To the present day and Lucid Lucia marks a brighter, clearer sound for the sextet. Consisting of Vincent Brijs: saxophones and EWI, Bart Borremans: saxophones, Stijn Cools: drums, Dries Laheye: bass, Dries Verhulst: guitar, Jan Willems: keys and James Williams: drums and percussion, they have honed their skills performing with numerous artists from home and around the world including Ursula Rucker, Joseph Bowie (Defunkt), Amir Sulaiman, Anthony Joseph, Zena Edwards, Ayanna Witter Johnson, Baloji, Mo & Grazz, Kain the Poet (The Last Poets), Marie Daulne, Dizzy Madjeku, Ida Nielsen and many others.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Channeling his background in classical music, SUUNS' Ben Shemie combines string fractals, manipulated vocals, and synth-powered chaos to bridge the universes of past, present, and future. Over the course of ten tracks, Shemie chronicles a wandering soul tangled in its own dark orbit, searching for meaning in a world of stardust and astral mirages. Breathing life into Shemie's orchestral maneuvers was the Molinari String Quartet, one of Canada's most celebrated contemporary ensembles. Recording the album's ten tracks in two single-takes, the urgency and dynamism of these compositions can be heard as much felt. The listener can sense the stuttering pulse of Shemie, flanked by five amplifiers and wading in electronic bedlam, as the Molinari Quartet switchbacks measures of strings and chimes. Sometimes, the only way to make sense of the world is to travel to its absolute end. While Shemie's image of a faraway universe is equal parts inspiring and chaotic, he assures the listener _ everything and everyone is exactly as it should.

Oakland, California dark punk trio TENSION SPAN unites Noah Landis (Neurosis, Christ On Parade) on vocals, Geoff Evans (Asunder) playing guitar and synth, and Matt Parrillo (Dystopia, Kicker) providing bass, guitar, synth, and additional vocals.

Infusing classic elements of punk and post-punk, fans of Killing Joke, T.S.O.L., Subhumans, Conflict, Rudimentary Peni and The Wraith will be instantaneously addicted to TENSION SPAN’s dire urgency and infectious hooks.

During the isolation of Covid, the newly formed trio crafted The Future Died Yesterday, an album that sounds both varied and cohesive, combining musical and emotional heaviness with melody, samples, and synth. Sonically unique and riveting, The Future Died Yesterday sees the band ripping through thirteen doomed anthems.

Limited Clear Grey Vinyl 7". For Fans Of… Piero Umiliani, Amedeo Tommasi, Dorothy Ashby, Sandro Brugnolini, El Michels Affair, Sven Wunder. Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960’s, Salvator creates his own unique mood that’s equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Tracks 1. Mind On Madrid 2. A Return To Normal

Against the backdrop of Asbury Park , NJ rock and punk history comes
BEACH RATS
With a membership that includes four impossible- to- avoid New Jersey punk
stalwarts including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz
(Lifetime), Bryan Kienlen and Pete Steinkopf (The Bouncing Souls) and rounded
out by Danny Windas, AKA "Dubs" on drums . BEACH RATS play a brand of
hardcore/punk that stays true to their members' roots while creating something
completely fresh and urgent."I had moved to Asbury Park," recounts guitarist Brian
Baker. "And it turned out that Pete Steinkopf and Bryan [Kienlan] from the
Bouncing Souls were sniffing around and had the idea to do a fun side-band with
Ari Katz from Lifetime. They had recently played together at a memorial for Dave
Franklin [Vision frontman, R.I.P.] and had a blast. That was the foundation of it.
Like most of my career, I walked into a pre-existing situation, ready to go. They
were talking about it and I was immediately like, 'I want to be in a band! Bands are
great, let's go!"The common denominator for BEACH RATS for was simple. "It's a
mix of the Jersey Shore thing and a bunch of guys that can endlessly create 80's
hardcore riffs because we were there," states Bryan Kienlan. "You're gonna get
authentic punk and hardcore from BEACH RATS because we are all from the 80's.
It's literally taking it back to some of our biggest influences like Negative
Approach and Poison Idea, And of course, Minor Threat."