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 The ‘Fantasy’ EP saw Jacques Greene push further
into his downtempo and ambient influences than ever
before. Now he returns with a special club-tested
extended edit of key EP track ‘Relay’, alongside an
incredible Skee Mask remix.
 Since releasing his last studio album, ‘Dawn Chorus’,
in 2019, Jacques Greene has scored the short film
‘Exhaust’ starring Jimmie Fails (‘The Last Black Man in
San Francisco’), Glenn Kaino’s installation piece
‘Tidepools’ (alongside Nosaj Thing), and videogame
‘Homeschool’. He released remixes for artists such as
Para One, DC Salas, Amtrac, Kllo, Elohim, Kacy Hill
and Montreal disco legends Lime.
 In 2020 he made headlines for creating ‘Promise’ - the
first single released with associated NFT that staked
the owner to music publishing. In 2021 Greene
released ‘ANTH01’, a reissue compiling his first few
years of releases across various labels, alongside
unheard tracks from the era.
 Fresh off a US / European tour in 2022 in support of
his ‘Fantasy’ EP, as well as a high profile support slot
on the recent Bonobo tour.
 “Immaculately produced and mixed, and profoundly
effective - both for the pleasure centers it fires, and
also for the associations it triggers. It feels like a
genetic memory passed down across generations of
ravers, encoded in their very DNA.” - Pitchfork
 “An exercise in restless soul-searching, striking a
delicate balance between struggle and serenity as if
one necessitates the other.” - Resident Advisor

Seventh candy delivery from Bardouin Music with an atmospheric and euphorythmic EP by Lyon-based producer Hyas. This new chapter presents a dreamy and acid story with 5 vault gems - going through electro, speed garage and breakbeat with cloud-grazing synthesizers and echoing effects in the ocean’s depths. Welcome to the unexplored Angel Island Zone.

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).

"Layers Of Lies", aufgenommen im Winter 2004/2005, war das erste selbst produzierte DARKANE-Album. Ein neues Studio war gebaut worden und die Band verbrachte Abende und Wochenenden dort, um ihr viertes Album fertigzustellen.

Das Ziel war es, eine Mischung aus den früheren drei Alben mit einem brutaleren und futuristischeren Sound zu schaffen. "Wir wollten unseren Sound weiterentwickeln und dabei unserem Stil treu bleiben", erklärte Christofer in vielen Interviews.

Es wurde viel Arbeit in die Gesangsarrangements gesteckt und Andreas Sydow klang mit seinem aggressiven Gebrüll besser als je zuvor. Für das bombastische und doch eindringliche Intro "Amnesia Of The Wildoerian Apocalypse" wurden wieder einmal ein Chor und ein Orchester engagiert.

Blabbermouth schrieb in einem Review zu "Layers Of Lies":
"Songwriting-mäßig hält DARKANE die Dinge relativ einfach im Sinne von Strophe-Refrain-Verse, lässt aber nicht die Intensität für irgendwelche Flüster/Crooner-Strophen oder Crossover-Tracks sinken. Songs wie "Fading Dimensions" und "Secondary Effects" enthalten rasante Thrash-Tempi und einprägsame Refrains in diesem völlig synthetischen, aber seltsam ansprechenden melodischen Robotergeschrei... Letztendlich ist "Layers Of Lies" ein eingängiger, ansteckender, unwiderstehlicher, charismatischer Arschtritt von einem Album!"
Nach der Veröffentlichung von "Layers Of Lies" im Herbst 2005 produzierten DARKANE ein Video für den Track "Secondary Effects" und gingen anschließend auf ihre erste abendfüllende US-Tournee mit Fear Factory, Strapping Young lad und Soilwork, die für die Band sehr erfolgreich war.

One of the UK’s most consistently inventive production minds of recent times, Lil Silva has perhaps one of the most varied resumes in the world. Causing a seismic effect on the world of club music with smashes such as ‘Seasons’ and releases with the likes of Night Slugs, production credits for a diverse range of artists such as Adele, BANKS, Mark Ronson and serpentwithfeet, and a collaborative project with George FitzGerald as OTHERLiiNE even before factoring stellar solo releases under the Lil Silva moniker using his own vocal, he has continuously combined a broad range of influences to create a transformative, varied discography. After the release of ‘Backwards’ last month alongside Sampha, today Lil Silva announces his long awaited debut album, Yesterday Is Heavy.

Over 10 years in the making, ‘Yesterday Is Heavy’ is a cumulative product of an already remarkable career filled with highlights. An album about stepping out: outside of a comfort zone, and, for Lil Silva, outside of himself. It’s a debut album of heft and heart, but most of all hope – and trusting the process. Buoyed on by the encouragement of long-time collaborators like Jamie Woon and Sampha early in his career (they both implored him to commit his own voice to record), and bolstered by incomparable session experience working with Mark Ronson, Adele and more, the Lil Silva story that started aged 10 in Bedford is beginning full circle. Created primarily in the town he grew up in (and continues to live now), the pervading solace of home courses through the project, while providing the thrilling moments of sleight of hand that Silva has always been capable of.

As he so often does, Lil Silva shares the spotlight with an astonishing international cast of guests. He fuses well-versed modern legends in the shape of Sampha, Ghetts, and Little Dragon with rising stars serpentwithfeet, Charlotte Day Wilson and Skiifall to thrilling effect, the whole time never allowing his deftly dynamic yet considered touch to be outshone throughout. The album has also been created with musical direction from Louis Vuitton musical director and BBC Radio 1 tastemaker Benji B, as well as creative direction from award winning visual artist BAFIC. It’s with the opening track ‘Another Sketch’ however, where his singular talent introduces itself.

With a visual directed by UKMVA Award winner Fenn O’Meally, ‘Another Sketch’ is a prime example of the vast array of talents that Lil Silva possesses. A video that transcends generations of Black Britons (featuring Lil Silva’s own family as well as Sampha), ‘Another Sketch’ focuses on the subject of time. Looking at generations of black britons as monuments, the visual centres on the idea that despite time being able to wear down your appearance, what’s inside of you can never depreciate. The main centrepiece of this is heritage, with archive and newly recorded footage showing Silva’s family and friends enjoying the same activities they did generations ago, spliced with footage and voice notes from one of the lands of his dual heritage, Jamaica. The track itself focuses on a central theme of actions, their consequences and changing our inevitable future, with Lil Silva’s stunning falsetto shining alongside background vocals from serpentwithfeet and an instrumental that initially opens minimalistically before gradually unfurling to unveil elements of his electronic beginnings; a thumping hip hop infused beat and swelling melodic embellishments.

With ‘Yesterday Is Heavy’, Lil Silva reaps the rewards of over a decade of influence to create the debut album he’s always imagined. Simultaneously riding the line between pertinent storytelling and virtuosic production, ‘Yesterday Is Heavy’ charts the story of one of UK music’s unsung heroes taking his time to build something that is truly timeless. Yesterday Is Heavy, but tomorrow is forever.

REPRESS!

Returning for 2019 with our first 12-inch release, Made in Green Records concludes Rooteo & Mahura’s opening salvo, with reinterpretations from the artists themselves and the label head putting their marks on already-outstanding material. Leading off the release, we find the original ‘Caxixi’ from their debut LP, Mettā, with its tablas and vocals rubbing against billowing clouds of bass and dubwise effects; Made in Green boss Vasco Ispirian turns in the first rework, a thickly layered, relaxed tempo dub techno trip. Barely- recognizable remnants of the original’s percussion and vocal lines occasionally surface out of the subaquatic haze before surging kick drums push them back beneath the surface. Appearing here under his recently-birthed 4NYØN3 project, Rooteo, best known as Marcos In Dub, closes the release with a pounding techno remake that utterly transforms his own & Mahura’s work. Squashing the original’s ambient sonics into unstable delay traps that reappear prominently in the breakdowns, he grafts this into stringent techno, adroitly wrought and with details to spare, the scrambled fragments of sound emerging between heavy drums and contributing to the dark and downcast mood that pervades the piece.

restock

Hearttheartrecords presents Dangirl and Demo DC who with their combined talents form Ghost N the Wai bring a fresh take on the electronic music scene. Dangirl's musical mastery of keyboard melodies and composition and Demo's unconventional wizardry of electronic sounds and drumming creates an alchemy of aural delight. The Wai (Aka Dangirl) begins this magical experience with her Debut track Between worlds, a celebraton of life, a sparkling tribute to all that exists. With a combination of orchestral magic, arpeggiated droplets and deep groovy basslines, we are taken on an immensely beautiful journey through the cosmos dancing with the intricate layers of the emotional spectrum and rejoicing at what it is to be a living being in the multiverse. Finding beauty and sacredness in even the most testing moments as we are cushioned by an unrelenting and loving consciousness. Some mind made limitations were overcome in the writing of this and as a result caused a significant shift in Dangirl as an artist, hence the effect of this track may be deeply healing. By exploring the pure deliciousness of arpeggiation and marimba sounds The Wai discovered her own unique style of electronica. When the World Sleeps, is an ambient fairy tale of a little girl who ventures out under the starry night sky and is filled with a sense of peace and wonder as the rest of the world wind down to sleep. Big sister to Between Worlds, The Wai's first electronic baby was the original inspiration for Ghost 'N' the Wai starting a whole new venture for Demo Dc and Dangirl. This piece is the tale of a girl who travels to places of unimaginable beauty, exploring the vast cosmos with her star friends. The healing energy of pure childish joy permeates the universe and balances all in existance. As dawn approaches she returns to bed and earth's inhabitants start their routines like a production line. Reminiscent of the Indonesian gamelan (one of Dangirl's lifetime musical inspirations) we are taken on a meditative journey, with haunting bells and dreamy frequencies revealing unfamiliar worlds but maintaining a sense of peaceful slumber. Resting in the womb. Our home. Nap is Over mix is a collaboration of the Wai aka Dangirl and Ghost Foreigner aka DemoDc which when the two unite, form Ghost N the Wai. This track manifested when the Wai asked for Ghost’s feedback on her ambient piece When the world sleeps. After a day of Ghost having it in his grasp, Nap is Over was born effortlessly, giving insight into the power that simmers beneath the surface of these two aspiring artists. The Wai, with her deep, still, meditative grace brings contemplative composition along with Ghost bringing organic yet organised chaotic experimental beats. Nap is over questions reality as it stands, giving the listener the opportunity to ponder their own existence .... the world no longer sleeps ... the Nap is Over.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

The new EXOTICA sensation has a Name : The ROUNDELLS, This talented French trio+1 is exploring the world and its crazy rhythms on this amazing debut album. All the cuts were recorded and mixed at the ELECTROPHONIC studio, down in Lyon, France, by the wizard of the place Hervé Bessenay. With a handfull of vacuum equipment and vintage effects, Hervé"s got it ! The mid century Lounge Exotica sound that was in vogue from Miami to Malibu in the 50"s... full analogical recording rules ! So get your Bamboo skirt and Limbo barefoot in the sand !

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Greetings from Buddhist synth pop hell - Sami "Albert Witchfinder" Hynninen joins forces with Finnish hip hop maverick Olli Hänninen A chance meeting in Hell? No! It was destined to happen: Hip hop maverick Olli Hänninen (Ronskibiitti, Hammaspeikko) teaming up with Doom Metal eccentric Sami Hynninen (Opium Warlords, Reverend Bizarre) to create alternative rhythm music unlike anything that has existed before. Hänninen and Hynninen take a trip to eighteen chambers of Buddhist Hell to reflect on the cold and violent world that surrounds us every day. The music stretches from experimental drones through jazz and marching music to bona fide synth pop, but do not try to label this album. It is impossible. It follows only its own laws. It can caress you or hit you in the head, but it never loses its intensity. Imagine a sober but psychotic COIL, or DAF with a shotgun, and you are not even close. The ambient elements and rhythm tracks defining the tone of each chamber morph together everything from weird crackle boxes, self-made anti-instruments and field recordings of a malfunctioning supermarket wicket or unorthodox paving block structures under a luggage trolley, to noisiest distortion and analogue delay effects on a mindlessly abused electric guitar. It is NOT Rock, it is NOT Metal it is just Alternative

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

On their new album Looming, The Spindle, The Pleasure Majenta shape a
terrifying and sublime mix of noise, broken electronics and guitar
feedback that begs to remain untamed
From New Zealand by way of Berlin, these dystopian goth punks take their cues
from the harsh and heavy energy of The Birthday Party, Swans and The Fall
€"casting bummer vibes into the void to create the pain- soaked statement so
many albums want to make but wind up missing the mark.The lead single € Full
of It € fills the screen with flashes of cinematic post-punk savagery up to its ears
in swampy distortion and sleazy funhouse skronk. Velvety € 70s exploitation flick
saxophones hustle with devilish no-wave spaghetti western guitars and a slippery
bassline like a coffin dragged through mud in a grungy post- punk dirge. It's a
waking tour through a dysfunctional late- capitalist bardo where disassociation
becomes an effective coping mechanism for the cyclical, paralyzing grind of
clock- in, clock- out psychosis. € I felt okay when I wasn't myself "when I was
making music or playing onstage, so I decided I would contact myself in this way,
says The Pleasure Majenta's Lawrence Loz Fergus Goodwin. It's a dangerous
game to play.
Tracks: Satellite / Fabric / Sad2say / Smiles Through A Sneer / Anxious Patient /
Osc / Full Of It / It's Ten / Erik Satie / Gardens

US Born, Manchester-based Avernian inaugurates his newest club-night turned-label venture, with the help of Stenny (Ilian Tape), Tammo Hesselink (Delsin) and Jabes (Timedance).

The first four-track compilation comes to form with opening piece 'Kembow' by Ilian Tape mainstay, Stenny; a pacy bass-ridden roller, executed to devastating effect with razor-sharp synths that stab down into the midrange of the speakers like daggers, sitting atop dread-ridden sub frequencies.

Label-founder Avernian follows suit, already being widely recognised for rowdy releases on imprints such as More Time, Fever AM and Scuffed Recordings. 'Power Stance' continues the 12" with elephant trunk synthesis, and a galloping, low-mid frequency rumble that is second to none.

Jabes (Timedance/Klunk) delivers 'Rite'; a deeply tense excursion with harrowing sound-design and analogue delays that dance around a playful stereo field, mixed down to extreme, scientific hyper-precision.

Closing out the record is Tammo Hesselink (Delsin/Nous'klaer Audio) supplying 'Water Plus' with a neck-snapping groove of warm and distorted, polyrhythmic claps that have been self-recorded among a frenzy of foley lines that spiral into fun and friendly dancefloor adrenaline, bringing the compilation to a clean close and leaving the listener pining for the label's follow-up.

Lisbon's purveyor of dance incantations Paraiso are back with an EP that packs a meeting of 3 legends of the local and global underground - a trio of fearless pioneers and cultural agitators from different eras. Yen Sung and Photonz have partnered up in 2020 to collaborate on new music and start a record label. Fast forward to today and this Paraiso EP is their third release, further exploring their mutual penchant for ethereal house music drenched in subtle but fiery grooves and acid basslines. Opener 'A Temperanca' taps into moody yet bouncy motifs, punctuated by crisp claps and an infectious 303 line in the vein of DJ Pierre's record 'What is House Music', their confessed influence for this track. Things get slower on the A2 where the title track gets reworked with alternative elements - aptly named Gravity Mix. The B side continues the metallic acid exploration via 'Akasha', twisting and turning like only expertly crafted basslines do before things blossom into a sunny house groover with enticing percussion and variegated hats. Legendary Angolan-Portuguese producer DJ Satelite steps in for remix duties, adding his iconic deep afro house edge to a wonderful effect, all blissful motifs and broken percussive sonics.

From a shared love of electronica, aquatic techno funk and tribal rhythms comes this collaboration.

Raw electronics and warm analogue sounds flow and almost breath with life as synths spray atmosphere over washed out stabs which swing from one note to the next.

Layered effects sit alongside glitches and heavily distorted breaks perfectly suited for the rumbling subwoofers of soundsytems.

Written by Mat Carter & Keith Tenniswood at The Cube

Spanish producer Divorce From New York (AKA Alvaro Granda) returns with his brand new LP ‘Sausalito’ on London’s High Praise. With his previous full-length 2021 offering ‘This Ain’t Jazz No More’ having gained support from Tom Ravenscroft (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM, BBC Radio 1, Errol (Touching Bass), DJ Mag & many more - the stage is set for this heady and potent sophomore release.

Known for his work as one half of San Sebastian based production duo Reykjavik606 (who have previously collaborated with the likes of Tenderlonious and Ishmael Ensemble) Granda creates a rich web of broken beat flavours, uplifting sonics and syncopated rhythms - melding elements of jungle, house and bruk with jazz sensibilities.

Featuring seven brand-new and flavour-packed tracks, ‘Sausalito’ is an uplifting and joyous listen from start to finish. Immersing himself in his extensive collection of Jazz, Soul and Disco vinyl, Alvaro channels golden sunshine-injected influences into a wonderfully cohesive and infectious record. First single ‘Last Ray Of Sunset’ sees Alvaro join forces with long-term collaborator Piek. As its classic disco sounds meet jaunty, MPC- driven drums, and an irresistible bassline - leaving us dreaming of hazy summer terraces, and those last fleeting moments of daytime as evening takes hold.

‘Holly Grove’ evokes a sense of mystery and intrigue with it’s celestial rhodes and flute flourishes, before being joined by syncopated bruk-beats and the alluring vocals of Sarah Zoyaya, who’s tones entwine with some wild synth playing and twisting polyrhythms. Final single ‘I Haven’t Recovered From Last Night With You’ entrances the listener with it’s hypnotic saturated percussion, swirling vocals and reverb-laced key stabs. Creating visions of endless and vast expanses, it shows Alvaro’s ability to weave textures and melody to incredible effect.

With this record, Divorce From New York solidifies his position as one of Europe’s most authentic and original beatmakers. With a range of styles and influences ‘Sausalito’ takes us on a dancefloor leaning journey from sun drenched rhythms through to detroit-techno esque programming. With extensive live performances scheduled for Summer 22 (including a performance at Kala Festival) you can expect to hear this one doing damage on the world’s dancefloors.

Captained by Hugo Mari and Josh Byrne, High Praise is a london-based record label and party. A vessel for uplifting music, made with good energy - they have released music from Yadava, EVM128, Lay-Far, Partner Music & more.

Divorce From New York will release ‘Sausalito’ on 2nd September ‘22 via High Praise.