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The Belgians pimp their fourth album's psychedelic pop with disco funk and there fore groove somewhere between TAME IMPALA and PARCELS.On Movements, the Brussels-based rock quintet Great Mountain Fire lavishly enriches its infectious indie-pop songs with soul grooves. The lively sound and dexterous ensemble dance away our inarticulate sense of disquiet. The laidback funky rhythms, often combined with playful falsetto voices, bring out the dextrous ensemble as much as possible. The band discovered Sly & the Family Stone, Larry Graham. the afro rhythms David Byrne famously tried to embrace in his works, Marvin Gaye and "Strawberry Letter 23", a 1971 song by soul singer Shuggie Otis. Still it's an indie-guitar vibe that's ride GREAT MOUNTAIN FIRE.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING INSERT
• FEATURING THE BRODSKY QUARTET
• LIMITED EDITION OF 2500
INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The Juliet Letters is the 14th studio album by singer and songwriter Elvis Costello. Originally released in 1993, the critically acclaimed album peaked at No. 18 on the UK album chart. The entire instrumental backing for The Juliet Letters is provided by The Brodsky Quartet. Costello had become interested in classical music around the time of Spike and began attending classical concerts. One of the ensembles he enjoyed most was the Brodsky Quartet. Once Costello and the Quartet got to know each other, they were keen on working together, eventually resulting in a full length album.

Costello described The Juliet Letters as “a song sequence for string quartet and voice and it has a title. It’s a little bit different. It’s not a rock opera. It’s a new thing.”

The album is available as a limited edition of 2500 individually numbered copies on purple coloured vinyl and includes an insert.

On-U Sound announce latest volume in the Pay It All Back series with unreleased Lee “Scratch” Perry track, plus 40th anniversary live concerts

On-U Sound is proud to present the latest volume in the much-loved and collectable series of On-U Sound label samplers, packed with exclusives, alternate mixes and previews of upcoming releases. Includes unreleased tracks from Lee “Scratch” Perry, Tackhead, African Head Charge, Mark Stewart, Creation Rebel, Andy Fairley and more.

The first music to be shared from the album is an unreleased track with the late, great Lee “Scratch” Perry - “Many Names Of God” is an outtake from the sessions that produced the Rainford and Heavy Rain albums and also features vocals from Nightmares On Wax collaborator LSK aka Leigh Kenny.

The release of the new compilation also coincides with a very special concert taking place at the Forum in London, originally scheduled for 2020 but delayed because of the pandemic. Celebrating 40 years of the On-U Sound label, it brings together musicians and artists from at least four different continents for a unique evening with Horace Andy, Tackhead, African Head Charge, Creation Rebel and most of the other musicians featured on the album.

Label boss Adrian Sherwood comments: “As usual with the Pay It All Back series, the intention is to promote our upcoming releases and productions. Also on offer are previously unreleased gems, versions of tracks exclusive to this release and more from artists that we’re keen to promote. Sadly in the last year we have lost so many music giants from amongst us, including Lee “Scratch” Perry, George Oban and John Sharpe. Lee Perry laughed at death. It was to him just a part of life and another beginning...I trust Lee. I’m very proud of this album, it goes out to all On-U Crew, our missing and irreplaceable friends.”

Please note that the Rita Morar and Mark Stewart tracks are vinyl only, are not currently available digitally, and therefore are not accessible via the download card.

- Spec: Limited edition transparent blue vinyl in 3mm colour printed sleeve with printed inner , full sleevenotes, fold-out 24” x 12” Pay It All Back concert poster and download card

Bonus tracks accessible via DL card:
1. Tackhead ft. MAD 45 - I Don’t Wanna Work A Fake Job
2. Sherwood & Pinch - Excessive Drinking
3. Ital Horns - Metropolis
4. LSK - Money Masters
5. Andy Fairley - Deranged Man

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Multi-instrumentalist and Composer Eric Dolphy made a significant impact in the
world of Jazz over a period of half a dozen years running from 1958 until his
untimely death in 1964. He took part in many of the great recording sessions, both
as a leader and sideman, that moulded the sounds and outlook for modern Jazz
as it developed over subsequent decades. In addition, in his superior hands, he
gave a voice to the under-used Bass Clarinet – as heard on both the tracks
Eclipse and Serene, eventually taken up by equally adept Reedmen, and his Flute
playing became a model for those looking to expand the range of the instrument.
Examples of his leadership and fluidity as a Flautist are featured on 17 West and
Sketch of Melba where he shapes the character of both compositions. 1960
became his breakthrough year as Prestige Records gave him the chance to record
under his own name which resulted in 1961’s Out There. Dolphy emerges on this
album as a fully-fledged Modernist. His technique is impressive but the emotional
commitment he brings to the music is equally striking

MC DUKE was one of the first UK rappers to find a serious level of success, laying the ground work for a generation of hip hop talent to follow. As well as being a UK hip hop legend, he was also one of the pioneers of the early British hardcore / jungle sound & owner of the Hard Disk record label.

The legacy of MC Duke with the early rave sound was cemented in history forever when The Prodigy sampled his voice for their chart topping hit Everybody In The Place! He was also one of the first MC’s on London’s infamous Kool FM. As a producer Duke was signed to the Boogie Times label, sister imprint of the genre defining Suburban Base, under the alias E.K.U.D.C.M. (which is MC Duke spelled backwards).

The first slice of vinyl on this collection features rare cuts from 1993 and perfectly showcases the evolution of the rave era into the sound that was at the time described as jungle techno, the precursor to jungle as we now know it.

Vinyl number 2 is the one that will get the collectors salivating... Featuring music by The Man With No Name, currently the only copies of these tracks are available at an asking price of £167 on the resale market, with people already parting with up to £155 to own a copy via re-seller site discogs!

Our third & fourth disc once again features 2 of MC Dukes alias’ with the darkside goodness that is Quiji Board, and closes with the most up to date track from the compilation by Phiziks previously unreleased on vinyl.

All tracks on this Hard Disk compilation have been expertly re-mastered to give you the optimum listening experience while retaining that authentic early 90’s sound you’d expect. This four-part vinyl collection is placed in a beautiful presentation box for which we’ve digitally re-created the original artwork style from Hard Disk releases back in the day to make this a true collector piece for those wanting a genuine piece of UK culture history.

We like what Trouble have done with this album, “Plastic Green Head”. The music sounds fairly dissimilar to the completely doom-laden, crushing riffs present on the earlier material, but what Trouble do here sounds every bit authentic. Not to mislead you, this definitely still sounds like Trouble, but they seem to have adopted a more laidback, stoner metal approach; sacrificing sinister atmospheres for more upbeat ones. The first few tracks are completely awesome offerings of vintage Trouble. The playful, thrashy riff of the title track, which opens the album, is a great introduction to the music at hand and Eric Wagner’s distinctive vocals sound powerful overtop. “Plastic Green Head,” “The Eye,” “Flowers,” these are all what you would expect from Trouble, huge churning riffs, 80 bpm drumbeats, Eric Wagners nasal yet powerful voice. They are simple, they are catchy, and they are just plain good. “The Porpoise Song” is a cover of a song by The Monkees, and strangely enough it’s very good. Big wall of guitar noise, and Eric singing in a less nasal and more melodic voice. “Opium Eater” sounds like it could easily be an Alice in Chains song. On this album there is silly plenty of Sabbath worship, but also more of an upbeat, hard rock feel. We would even say that a little grunge has crept into their sound (to be fair, it’s probably the other way around, Trouble influence crept into grunge.) If you’re looking for a nice dose of stoner metal, you’ll find just that right here. There’s plenty of memorable riffs which provide good replay value, and although you won’t find as much doom as you might expect from Trouble, it’s still there if you look for it.

Jazzrausch Bigband stands for a truly unique concept: jazz meets techno meets big band.

After the powerful, song-like album ‘techné’ from 2021, which featured a cast of prominent musical guests, new release ‘Emergenz’ focuses on the core line-up of the band. And a more subtle, yet broader approach, which incorporates elements of minimal music, drum & bass, literature and stronger jazz influences without giving up the
trademark of the band; pulsating grooves and powerful horn arrangements.

When comparing ‘Emergenz’ with earlier albums, what is most striking is how the band’s expressive palette has become even more differentiated and refined. The moments when the energy levels are
at their highest are still dominated by techno jazz, which is only to be expected, but, in between, the regular four-on-the-floor pulse of the bass drum is increasingly suspended, so there are sections
where the forward momentum comes from intricate interlocked horn parts, or just voices.

Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging. To reinvigorate that marriage, Deap Vally have made their third album a genre-bending experiment with new collaborators and instrumentation that push the limits of what has previously defined the duo - Marriage is their musical Rumspringa, if you will. The album sees Julie and Lindsey break free of the rigid creative constraints within which they previously existed (two members, two instruments, two voices) and invite in collaborators such as KT Tunstall, Peaches, Jennie Vee and jennylee, as well as a range of producers including Allen Salmon, Josiah Mazzaschi and Harvey Mason Jr.

"This is the sound of a band empowered. Nothing - not our traumas and losses, not those who have underestimated or undermined us - can stop us. Those who seek to oppose us; your sins will catch up to you. We know who we are. We are united and you will fear us." Ithaca - They Fear Us ---------------- Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album ‘They Fear Us’ is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. To quote the band - ‘those who oppose us; your sins will catch up to you. You will fear us’. Ithaca's 2019 lauded debut ‘The Language of Injury’ was followed by their early 2020 tour with Grammy-nominated indie rock band Big Thief, starting at London’s Hammersmith Apollo. Press support from Pitchfork, BBC R1, Metal Hammer, Kerrang!, Rock Sound, Revolver, Decibel, BrooklynVegan, and performances with Bleeding Through, Jamie Lenman, Anaal Nathrakh, The Number Twelve Looks Like You, at Boomtown Fair and ArcTanGent Festival mark Ithaca as one of the most exciting and vital new voices in UK heavy music currently. Ithaca have also appeared on Ed Gamble’s Spotify podcast ‘Lifers’, Sky News and BBC3.

Recorded under a loft bed in the guest bedroom of his Nashville home, Michael Ruth aka Rich Ruth’s “I Survived, It’s Over” starts in a humble space. And while many contemporary music projects are produced in such an environment, “I Survived, It’s Over” sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. This music goes deep. "I conceived much of this record amidst the quiet and tumult of 2020 in my neighborhood that had recently been ravaged by a tornado," Ruth recalls, "I spent most of my days working on these pieces between bicycle rides - watching the beautiful Tennessee ecosystem flourish in Shelby Park, listening to Keith Jarrett’s The Koln Concert and John Coltrane’s Ascension." Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by John McEntire from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. "Working on this music is a daily meditation," says Ruth. "I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it. Through years of being a touring musician, it is a constant inspiration and privilege to collaborate with the individuals that graced this record with their voices." And those relationships pay off, because “I Survived, It’s Over” is a sonic meal. It’s rich (no pun intended) with massive instrumentation that’s usually reserved for more symphonic delights. But at the same time it’s simple and leaves space to breathe–space you didn’t know you needed. In his own words; "I Survived, It’s Over is a meditation on healing, confronting trauma, surrendering, and finding peace. I wanted to encapsulate the tranquility and disarray found within this process." Ruth’s heart and the peace that his presence produces is all over this album. And despite his midwestern humility and willingness to brush off any praise, he’s put together something really special that carries its own weight. It's the kind of record that only comes around every once in a while and it's worthy of all the head-bobs, acclaim, and celebratory potlucks that Mike and the gang have coming their way. “I Survived, It’s Over” is a record you should buy for your friend, your foe, and yourself. It’ll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura.

Following on from acclaimed recent releases on Hallow Ground and Boomkat’s Documenting Sound series, NOISEEM is a major new work from Japanese sound artist/instrument inventor Yosuke Fujita, who performs under the name FUJIIIIIIIIIIIITA. Where Fujita’s recent recorded output has focussed primarily on documentation of his remarkable self-built pipe organ, NOISEEM is the culmination of half a decade of work with highly amplified water. The evocative and timbrally rich sound of water has inspired concrete and experimental music practices since ground-breaking works such as Hugh Le Cain’s ‘Dripsody’ and Knud Viktor’s obsessively aquatic ‘Images’. However, other than his compatriot Tomoko Sauvage, few have explored the possibilities of water in live performance to the extent that Fujita has, constructing a series of water tanks that, with their pumps and amplification controlled by the performer, become a new musical instrument. The recordings contained here are drawn from live performances in Tokyo and London, edited and mixed by Fujita into two side-length pieces dominated by water, pipe organ, voice and subtle electronics. On ‘AWA’, which occupies the LP’s first side, the listener is immediately immersed in an aqueous world of recognisable drips and splashes, as well as more mysterious squeaks and squawks. While the liberal use of delay at times conjures up the sound world of early electronic music, the sparklingly clear amplification is unmistakably contemporary, lending the music a stunning weight and tactility. Building over several minutes, the piece eventually comes to a rapid boil, criss-crossed by washes of white noise splashes of electronics, before the untempered long tones of the pipe organ enter. The slowly shifting harmonies lend the remainder of the side a meditative, almost oneiric quality, inviting listeners to lose themselves in the aquatic layers that ripple across the harmonic foundation. On the second side, ‘UZU’ begins more starkly, with a single rapid bubble, quickly joined by full-spectrum wooshes and silvery, ringing tones. After a few minutes, the music undergoes a radical, entirely unexpected shift with the entry of a distorted, auto-tuned voice that repeatedly cycles through ascending and descending melodies. Left alone at times to be heard acapella, this mysterious element at times takes an odd resemblance to dhrupad singing. Eventually joined by rich, sonorous chords from the organ, the high tones of Fujita’s voice, and water, the piece takes on an ecstatic quality, channelling the sublime expansiveness of the natural element on which it is built. Disappearing as abruptly as they entered, the voices then make way for a haunted coda of isolated drips and distant whistles. Far from the intellectualised abstraction of much sound art, NOISEEM is strikingly immediate, both rigorously experimental in its explorations and unashamedly direct in its musicality. Tracklist 1. Awa 2. Uzu

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.
Often-overlooked, his second album Season For Love (1970) is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats us to a mellower soul here - sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels, from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops.
With flawless originals presented alongside a few well-chosen classics (his stunning cover of "Wichita Lineman" arguably bests the original's splendour), it's easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace "The Magic Of Love" and the heartbreaking "Walking On My Love", the mellifluous guitar work on the contemplative instrumental "The Shortest Distance" and gorgeous single "When A Boy Falls In Love".
Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch's uncontrived voice has a certain warmth to match a Nat "King" Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That's not to say that others lack the righteous energy and undeniable groove of Willie's later sound.
Remarkably consistent throughout - a rare commodity for many 70s soul albums - the lack of one signature song likely hindered its progress. Regardless, it deserved to make more of an impact and now, paired with the majestic debut, Soul Portrait, these recordings shine a new light on the early work of a soul legend.
Original vinyl copies of this album are extremely rare - and correspondingly expensive - so we're thrilled to present the first ever vinyl reissue of a true lost classic. This release is officially licensed and has been remastered for vinyl by our esteemed engineer Simon Francis. It has been pressed on audiophile 180g vinyl for the first time and features the original, rarely seen artwork.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Please welcome Barış Karademir, Istanbul's edit master, DJ, and musician with Insanlar on Live At Robert Johnson!

If you're a person that likes to get up late, Barış's first track »Noon« is the one for you. It sort of sets the mood for the whole EP with a groove that is deep and hypnotic and above all psychedelic. There's tremolo en masse plus these in and out fading voices that suck you into Mr. K's world - all kept together by this steady forward marching Barış beat. Pleasure, joy, and happiness - all in on groove - and not only effective at noon.

»La Dame Noir«'s most prominent feature is a mean bass line - plus more of those otherworldly sounds that Barış manages to pull out of his magician's hat while creating a superb shuffling riddim for all you dancers to shuffle along to, throwing in that oh so subtle triangle now and then.

With the last track »Valhalla«, Barış enters the mythological place of Asgard, where Valhalla, Odin's hall of the slain can be found in his Glaðsheimr castle. That kinda sounds a bit archaic and dark but don't be afraid: where there is shadow there is also light - light which can be heard in the first opening lines, lines that do sound a bit like played by our favorite shoegazer band "My Bloody Valentine". To get to Valhalla, Barış accelerates the tempo by a couple of beats, yet throws in all trademark ingredients to cook up a tune for peak time dancing in Valhalla … erm … I mean in the club.

So yes, please let us invite you to Barış K's wonderful world of sound - you won't regret it.

Aside from being one of Anamanaguchi’s most streamed songs, “Miku,” featuring the vocaloid pop star Hatsune Miku, is an anthem for a new type of musical icon, one that doesn’t need to be attached to a physical human body. Miku, which was officially released in 2013, is a Vocaloid software voicebank developed by Crypton Future Media. Her voice is based around Japanese actress Saki Fujita and uses Yamaha Corporation's Vocaloid 2, Vocaloid 3, and Vocaloid 4 singing synthesizing technologies. Anamanaguchi wrote “Miku” with the virtual musician and were the first band to perform live alongside the Hatsune Miku hologram on the Miku Expo tour in 2016. Since then, the song has been streamed tens of millions of times around the globe and given way to several viral TikTok moments with 20K+ unique videos, signature dance moves, and millions of views.

Consistently engaging their audience in both the real world and the virtual internet-sphere, Anamanaguchi has had TV performances on Late Night with Jimmy Fallon and Adult Swim’s Fish Center, multiple appearances at Porter Robinson’s Secret Sky Fest, and co-curated one of the first major live stream events for indie musicians with the Nether Meant Festival, which was featured in the New

York Times and The Washington Post. The band has also continued to stay true to a uniquely cohesive collaborative spirit, sharing tracks with artists such as HANA, Planet 1999, Flux Pavilion, Porter Robinson, Dorian Electra, Pussy Riot, Village People, and POCHI.

For 2022, Polyvinyl is proud to announce the release of Miku on vinyl for the first time. The release will feature the original composition as well as 8 bonus versions of the song including remixes from LLLL, Carpainter, Ben Aqua, Mino Mino, Lazerdisk, as well as an NES version, a Japanese version, and an instrumental version.

I can remember sitting in the booth after a botched take, so many years ago during the original Nation of Heat sessions, and being astounded at how much I had to learn. I could barely make it through a full song without fumbling the fingerpicking pattern, or breaking a string, or cracking my voice. In that moment, it felt like I was standing on the shore of a vast ocean over which I had every need but no ability to cross. Thankfully the songs themselves struck a chord with many listeners which gave me the chance to embark on that long journey. There followed a serious education on the stages of the Tractor Tavern in Seattle and the Turf Club in Minneapolis and the Hideout in Chicago and the Mercury Lounge in New York City and the Tricky Falls Theater in El Paso and the Bottleneck in Lawrence KS. I spent over a decade in tiny clubs across the United States putting one foot in front of the other, musically speaking. And so here I am again with this original set of songs, recorded now as I had always wished they could have been. -Joe Pug Greenbelt, MD 12/21

There is never any doubt that soul is in the house, when you hear the poetic guitar and organ licks from Cold Diamond & Mink starting to twirl together, and out of nowhere Carlton Jumel Smith steps effortlessly inside the groove. "Heaven In My Arms" is the second in line of Carlton's new trio of singles on Timmion, and what a treat it is: deep as Mississippi mud, light as a feather.

This time our trans-Atlantic tag team delivers a melodic beat ballad of the highest order, which should sweep fans of lowrider soul off their wheels. Spanish Harlem-bred Carlton has been steadily churning out gems since meeting the Timmion folks some years back and shows no signs of stopping yet. This is a love song with plenty of heart to give everybody. Just take it all in, and enjoy the instrumental on the flipside while you're at it.

A Ride is the new dark alt-country concept album on the road by Phill Reynolds, to be released on June 17th, 2022 by Bronson Recordings; Like all the best concept albums, A Ride takes you on a journey. This one concerns the last three days of an American runaway’s life. Part road-trip, part engrossing mystery, part search for redemption, it’s the fictional tale of a troubled man whose past comes back to haunt him. Via eleven intimate, chronologically-sequenced songs, we travel with him. There are epiphanies and dream sequences, drunken dive-bar nights and chats with Jesus and Lucifer. As the narrator battles with his dark side, it is ultimately we, the listeners, who must weigh-up and flesh-out his story. According to its creator Phill Reynolds, AKA Italian alt-country singer-songwriter Silva Martino Cantele, the key to The Ride’s mystery might lie within its fifth song, A Clockwork Dream. “That’s where we discover that, because of some kind of courtroom trial, the narrator has lost someone who was very important to him”, Reynolds explains. “But we never find out her name or her relationship to the main character. Is she a blood relative? Is she his wife or someone else?”. The origins of A Ride go back to 2015. On tour in the US, Reynolds took in the shifting landscapes, the people he met and their stories. All of this fed into the album he recorded at the all-analogue TUP Studio in Brescia, near Milan. Reynolds played almost all of the instruments himself and co-produced A Ride with long-term collaborator Bruno Barcella. If A Clockwork Dream features a full band arrangement – “I think of it as the kind of thing Neil Young & Crazy Horse might do on a Sunday morning”, says Reynolds – other songs are sparer, more intimate. Banjo, Fender Rhodes, harmonica and glistening slide guitar all feature as Reynolds delivers haunting confessionals such as Run, Run Away and The Fault Is Mine, songs likely to appeal to fans of artists such as Damien Jurado, Strand Of Oaks or For Emma, Forever Ago-era Bon Iver. Intricate, rapid-fire fingerpicking on the first single This Isn’t Me and The Call of The Dark demonstrates Reynolds’ dexterity, while his voice is a rich, fully-lived in instrument seasoned with the salt of experience,and strengthened by the 120 or so gigs a year he used to do before COVID took his one-man show off the road. Long an inhabitant of picturesque Italian towns in the Vicenza province, Phill Reynolds was born in Marostica and currently lives in Zugliano. He was only five when The Beach Boys’ Barbara Ann worked its magic upon him via the radio. Later a fan of ‘90s Californian punk bands, Reynolds was writing and performing in his own post-hardcore bands by 13, but didn’t make it to the nearest big city, Milan, until he was 19. Bands still matter deeply to him. But his love for folk music has deepened over the last decade or so, hence his solo act alter-ego. Where did the name Phill Reynolds come from? “Everybody asks me this,” he smiles. “Especially in the UK. The truth is I needed an alternative name for a gig I was doing, and at the time I was in love with the music of Phil Ochs and Malvina Reynolds. Malvina Ochs didn’t sound too good to me, so I became Phill Reynolds, and I like that, because it sounds like a normal person”. The esteemed Italian label Bronson Recordings will release his fourth solo album A Ride on June 17th, 2022, on CD, vinyl and digital. A Ride is the most ambitious and fully-realised Phill Reynolds album to date. He was assisted by Stefano Pilia (lead guitar on Dive Bar Oblivion), IOSONOUNCANE (backing vocals, synth, bass and field recordings on World On Fire), and C+C=Maxigross (bass, drums and backing vocals on In The Dark). The record’s story is a dark one, but not one without hope. “Every end is a new beginning”, says Reynolds. “One of the main themes here is that life can be a sort of trap unless you recognise your own demons and try to deal with him. So we must be prepared and try to live well”.

As lockdown approached in 2020, Chicago-based singer Lili Trifilio was
wrapping up a tour in support of Beach Bunny's debut album, Honeymoon
- Suddenly, she found herself back at her parents' house, coping with her
new reality - To deal, she retreated into sci-fi stories and her alwaysactive imagination
She envisioned new places to travel in her mind, thus dreaming up big, bombastic
pop sounds to construct Beach Bunny's highly anticipated sophomore album,
Emotional Creature. Simultaneously about personal growth, Emotional Creature is
a collection of highly relatable songs that capture the highs and lows of new
relationships, the joys and vulnerabilities of letting someone in, the gut-wrenching
realities of experiencing anxiety, leaving toxic relationships, and seeing yourself
through the eyes of the one you love. These complex feelings are expertly
contrasted with ultra-poppy melodies, anthemic choruses, and a slight punk edge.
'The songs have grown with me over time,' Trifilio explains. 'Some of them were
written in various stages of life, and I think as we go through different
experiences and hardships, you come out stronger. I've grown as a person, so the
songwriting reflects that.' With its openhearted, vulnerable themes and
progressive, hook-filled take on pop rock and pop punk, Emotional Creature only
further cements Beach Bunny and Trifilio's well- earned reputation as a leading
voice of their generation.

After three EP's in his own name, and one with Moreno Ácido at Holuzam, Diogo makes his debut 12” in the Discos Extendes series with “FINALMENTE!”. In a singular appropriation of the vast legacy of rave culture, Diogo crosses, along four tracks, a certain time span between the 90's and the 2020's, with all kinds of recycling and updates that the exercise entails. Syncopated rhythmic patterns, robust basses, junglist echoes, haunted voices or celestial pads make up a revivalist sound palette, here rearticulated beyond linear structures. “Até Segunda” sets the tone in territories close to Objekt's Theme from Q in a live sound design amidst sudden disturbances and rallying hooks. Tracks 2 and 3 stand out for their plot twists: “Ponto de Não Retorno” starts with a frenetic breaky maze before get immersed in a oneiric landscape, and “What?!” progresses gently within Vancouver coordinates to be opened to a schizophrenic rawness that, from there, completely remakes the track. “Errar É Ok” is an exercise of decompression, melodically woven, with a dreamy coda pointing to nostalgic horizons. Violet closes the EP with a muscular version of “Ponto de Não Retorno”. "Finalmente!" marks for this unstable balance between familiarity and strangeness, intuitiveness and disturbance, euphoria and immersion. Tracks for the dance floor, yes, with a twist, to be rediscovered as often as you like.

A voice in the ether. A calm, clement drone. A gentle, pulsing throb. Like the ghost of a forgotten future as imagined by the distant past, Certain Creatures' sophomore LP Nasadiya Sukta is a study in timelessness - crystalline, heartfelt ambient music designed to push light through shadow. Nasadiya Sukta is the debut release on Mysteries of the Deep, a record label dedicated to total sensory immersion. Mysteries (as it's known colloquially and affectionately) launched in 2011 after a particularly fruitful late-night mixing session, first as a cult podcast series dedicated to narcotic music of all kinds, subsequently expanding into a series of seasonal events. Now, with the release of Nasadiya Sukta, Mysteries of the Deep becomes a full-fledged outlet for music to play in the dark. Certain Creatures is the alias of Brooklyn-based artist Oliver Chapoy, and Nasadiya Sukta was crafted especially for Mysteries of the Deep. Its genesis came when Grant Aaron, Mysteries' proprietor, tapped Chapoy to perform at Mysteries' Halloween event in 2015. His performance was the night's axis point, bridging earlier subdued sounds with late-night upbeat moods. Two years later, reworked and reconfigured, this performance is reborn as Nasadiya Sukta. Although divided into six tracks, Nasadiya coheres into a single extra-terrestrial mass, its beautiful understated elegance encouraging repeat listens. Simultaneously harking back to ambient classics from the '90s (you know who they are) while cementing Chapoy as a visionary artist with his own unique voice, Nasadiya Sukta is one for the space travellers indeed. Releases on Styles Upon Styles, Medical Records Label Promo + Tour

The Meltdown present their second LP ‘It’s A Long Road’, a wistful and uplifting journey through dusty, countrified soul music and tender, reflective songwriting. Led by vocalist, keyboard player and producer Simon Burke, the band is understated but deft throughout, letting the songs and Simon’s golden voice do the heavy lifting. The band stick to a sonic palette reminiscent of golden era Southern soul studios from Memphis to Muscle Shoals and in that tradition there’s as much as country-soul and blues in the mix as there is soul and funk. Of particular interest to fans of Durand Jones and the Indications, Lee Fields and Tedeschi Trucks, The album starts on the cruisy but quietly anthemic Tell You Not To Worry and picks up for the rolling triplet feel of River, featuring a blazing saxophone solo from Meltdown co-founder Lachlan McLean. Standout guest slots from Emma Donovan on the title track and Liz Stringer on Not The Only Love give the album additional emotional and musical depth. There’s a broad range of vocal and instrumental stylings, but always within the boundaries of tasteful understatement with subtle-yet-lush production that straddles the line of soul, blues and country-soul. Simon’s voice ranges from falsetto to full voiced occasionally touching that gritty goodness and guitarist Tom Martin (The Putbacks) gets crunchy but never screamy. It’s a deceptively simple record, beautifully put together by a very experienced band and the quality shines through. sou

In the ever-competitive hip-hop arena, Tha God Fahim has proven to be a formidable opponent. With an unmistakable voice and an irrepressible flow, the Atlanta rapper has won over countless fans with a unique blend of style and substance, delivering sophisticated street wisdom over raw, soulful beats.

Expanding an extraordinary catalog that already includes more than 100 mixtapes, Tha God Fahim is now debuting "Six Ring Champ", his second studio album with Nature Sounds. A meditation on achievement and the hard work it requires, the album is a triumphant statement from an inspiring artist. "Six Ring Champ" features multiple appearances by Your Old Droog, plus production by Nicholas Craven, Camoflauge Monk, Thrasherwulf, and Fahim himself.

Cheri Knight's music emerges from the outskirts of late seventies / early eighties Olympia, Washington, offering sound that is both performative and meditative, electronic and organic, collaborative and self-contained, and richly rewarding. Nestled in the nascent milieu of Evergreen State College, where Cheri studied music composition, her practice developed between campus studios and expeditions to San Francisco and Mt. Temper, New York, where she apprenticed and collaborated with Pauline Oliveros and Linda Montano; always adapting to the musical and philosophical timbre of those times and places. American Rituals captures an artist's environmental emergence, unearthing a unique compositional voice and spotlighting regional sonic ethos. The seven works collected here, largely from various DIY cassette and vinyl compilations, range from polyvocal chants, pensive instrumental works, spoken-word collages, primal post-punk excursions, and hymn-like incantations. All are bound by a performative energy, expressing a Cage-ian commitment to the present moment, but also harboring a meditative interior. Marrying the seeing and hearing senses, Cheri's early work primarily plays with words-spoken, sung, recited, incanted, chanted, instructed, whispered - expressing the ritualized patternings of everyday material turned beautiful and strange, musical and hummable, conceptual and devotional. Freedom to Spend excavates this verdant period of experimentation, meeting Cheri at a moment of elemental evolution. Restored and remastered from original tape sources by Josh Bonati, the vinyl edition includes comprehensive liner notes by Steve Peters, a high quality, multi-format digital download, and a future world of past possibilities.

Y U QT are back on Time Is Now, and with them they're bringing the sun. "Sweet Fantasy" EP sees the Leicester duo return to what they do best: capturing UKG at its least po-faced, and most energetic.

And who better to help kick off proceedings than the one of the most recognisable voices in today's UKG revival? Ell Murphy's smooth-as-syrup vocals add another level of dynamism to the already-buoyant 4x4 garage banger "Fantasy", coming complete with a hook just as irresistible as the ones which shot their previous releases to success. "Buss Down" picks up the energy with propulsive kickdrums and old school MC vocal chops before "Leaving All Your Cares Behind" follows suit, adding a feel-good vocal melody for an extra serotonin hit. It's up to the more light-footed "Just Be Friends" to leave a sweet taste in our mouths. Euphoric Korg organ stabs give a sense of nostalgia whilst a meandering bassline lends it plenty of swing.

* Comes with the original 1985 artworks & obi strip. * All-star line-up featuring Herbie Hancock, Mory Kante & Bernie Worrell. * 180g blue Vinyl repress. Manu Dibango needs little introduction, born in Cameroon in 1933, Manu developed a musical style fusing jazz, funk, and traditional Cameroonian music. He's definitely among the best known African artists outside of Africa. Collaborations were numerous and include top acts like Fela Kuti, Herbie Hancock, Bill Laswell, Sly & Robbie, Don Cherry and Bernie Worrell. In addition to selling hundreds of thousands of copies of the albums he recorded, he played such huge venues as Yankee Stadium and Madison Square Garden. In 1972, at 40 years of age, Manu Dibango did something almost unheard of for an African artist - he had a pop hit. His song "Soul Makossa" became an enormous hit which influenced popular music for decades to follow. First picked up by David Mancuso (The Loft), "Soul Makossa" took New York dance floors by storm & in July 1973 it became the first disco record to enter the Billboard Top 40_an early instance of Western pop experiencing a paradigm shift thanks to Africa. The song's chant of "ma-mako ma-ma-sa mako-mako sa" echoes through the greatest-selling pop album of all-time, Michael Jackson's Thriller, and it's in the DNA of the music of Kanye West, Rihanna, A Tribe Called Quest, Akon and The Fugees. By 1985, Dibango was back in Paris, one of the most successful African artists in the world, to start on the recordings for the Electric Africa album. This album hooked Manu and the Soul Makossa Gang up with New York avant garde producer Bill Laswell, jazz pianist Herbie Hancock, Parliament-Funkadelic keyboard player Bernie Worrell, Pan African synthesist Wally Badarou, New York guitarist Nicky Scopelitis, African drummer Aiyb Dieng and Malian kora virtuoso Mory Kante. This means of working gave Manu and Laswell license to fuse synthesizers and kora, talking drums and samples, ngoni and electric guitar. What it all boils down to is world beat in its truest sense. Electric Africa remains one of Manu's strongest albums. His deep growl of a honey and sandpaper voice and the energetic honk of his saxophone merge with the seamless samples and the myriad hand percussion and overt funkiness of his band. Herbie Hancock plays on three tracks, contributing an amazing electric piano solo on the title track and interacting with Manu's sax while weaving to the warp of Mory Kante's kora during "L'arbre a Palabres." Similarly but more subtly, Laswell, Badarou and Worrell play dueling synthesizers in and around the band throughout "Pata Piya." All of this makes the album an hypnotic & upbeat Afro-Funk classic that will rock every part your body (and mind). Now finally back available as a limited vinyl edition (Blue vinyl, limited to 500 copies) for the first time since 1985.

About Last Night… is Mabel’s second debut studio album by English singer and songwriter Mabel, released on 15th July 2022 by Polydor Records. Mabel worked with artists such as 24kGoldn, Lil Tecca, Jax Jones, Galantis, Joel Corry on this album. A candid, positive and important voice in contemporary pop, the Brit Award winner’s new music emerged not just in the wake of a startling few years in the public eye, but through the life-changing lens of the pandemic. Right at the beginning of lockdown, Mabel and her dogs moved back in with her parents, she threw herself into dance classes, and channelled everything she missed (close friends, the big night out, young love, feeling unafraid) into this brand-new musical chapter. As she continued work on the record in the UK, US and between various lockdowns, Mabel first teased what she had been working on with first single ‘Let Them Know’ – an unapologetic anthem about dressing up with nowhere to go, and projecting confidence for anyone who needs it. Recent single ‘Good Luck’ distilled influences of house, heartbreak and female solidarity into perfectly realised pop – and the empowering song you need, when getting ready to go to the party of ‘Overthinking’. Pulling all these strings and tying them together is Mabel herself, with much more on the project to be revealed soon.

On the outskirts of late 1970s Olympia, Washington, something stirs, sings, and breathes. Cheri Knight, a music composition student at the Evergreen State College, is developing her practice in a quaint but adequately equipped campus recording studio, amalgamating with the sonic timbre of the surrounding time, space, and place, while devoting to her own inner maxims. At once performative and meditative, electronic and organic, collaborative and self-contained, Cheri’s early compositions are simultaneously complete and sketches of a ceremonial process at play. American Rituals captures the artist’s environmental emergence, unearthing a unique compositional voice and signposting a regional sonic ethos.

The path to Evergreen seems gently preordained for Cheri, a whisper in the trees. Growing up in a musical household in Western Massachusetts, she learned to play piano and clarinet, demurring from notated music but composing piano pieces in the minimalist mode of Erik Satie and folk songs inspired by Joni Mitchell. In high school, her class studied John Cage’s work, an epiphanic moment
for the young artist. The group also visited a studio outside Amherst where she encountered the modular limitlessness of a Moog synthesizer. Cheri studied philosophy and music at Whitman College in Washington, and then took a year to build a stone house with some friends in New Hampshire. She settled at Evergreen soon after, carrying with her a zeal for improvisation, creative investigation,
and hands-on experimentation.

Originally released in 2012,Tender Oppositesis TOPS’ debut album, nowcelebrating it’s 10year anniversary with a special edition LP. A lush array oftimelessly crafted songs,Tender Oppositesgathers its strength throughdelicate intimacy. These are moving songs that succeed earnestly,disregarding trends and myth-making, focusing instead on pure popcraftsmanship.

TOPS' tendency to opt towards making straight-forward, stripped down andhonest recordings lets their pop songwriting shine out in the open. With aheart frmly attached to their sleeves, their songcraft delves into theemotional intricacy of personal relationships, asking questions about powerand desire. Riley Fleck’s measured drumming and David Carriere’strademark guitar licks work in tandem and in service of Jane Penny’sunmistakable, wistful voice.

Deluxe double 12'' vinyl housed in a 2 pantone sleeve Including insert with liner notes Akuphone is pleased to present the first compilation dedicated to musician John Bolloten, aka The Rootsman. As a precocious punk, he formed his first band, State Oppression, in his teens. Yet he is best known for his dub music, a genre that gave him international recognition. Largely influenced by the rhythms of North Africa and the Middle East, he built his musical identity around samples from these regional repertoires. His encounter with Bryn Jones - better known as Muslimgauze - further defined his artistic path. This selection offers an overview of his work from 1996 to 1998, a prolific period when Into The Light, 52 Days To Timbuktu, Union Of Souls (with Celtarabia) and Distant Voices (with Pachakuti) were released. A visionary production that predicted today's growing international predilection for the musical heritage of the MENA regions. The compilation is enriched with an explanatory preface by Mabrouk Hosni Ibn Aleya and illustrated with rare archival photos- all of which are contained in a superb jacket designed by the artist Ghiya Haydar.

Alison Moyet, a British pop singer known for her rich, remarkably bluesy voice, went on to become a steady presence on the U.K. charts, however, with each of her studio albums reaching at least the Top 30. The Minutes was Produced by Guy Sigworth , and was first released in 2013. The Minutes marked a return to club minded electronics while keeping her sound distinctly contemporary. It became her highest charting album since Raindancing in the U.K., reaching number five.

"I'm trying to document emotions, more than specific events and
memories - I mean that's what my music is at the end of the day - I'm just
documenting"
This is Lucy Liyou, the Philadelphia- based experimental musician behind
cinematic sister LPs Welfare and Practice. Working in their Korean- American
lineage and pulling from childhood memories, Liyou takes inspiration from
Pansori (Korean Folk Opera), a style of Korean musical storytelling; and Korean
drama soundtracks. Collaging text-to-speech (TTS) with their own voice, personal
field recordings, audio samples from memes, Tumblr, and YouTube videos,
synthesizers, and lush acoustic piano, Liyou creates their own distinct narrative.

Starting life in the early 1970's, US legends Pentagram is one of the most
enduring underground bands in heavy metal history - Influenced by
British bands 'The Groundhogs' & 'Black Sabbath', their own take on Doom
Metal has subsequently influenced everyone from 'Paradise Lost' to
'Cathedral' - Though the band line-up has changed many times over the
years, enigmatic vocalist Bobby Liebling remains at the helm, with
Pentagram now widely-regarded as a true cult band with a fanbase
transcending whole generations
'Relentless' was the band's debut album & was originally self-released in 1985 as
'Pentagram' - later to be renamed & released by Peaceville in 1993, after a long
search for a suitable record label. With its numerous timeless heavy metal
anthems & the distinguishable voice of Bobby Liebling eerily ringing out,
'Relentless' remains the most iconic release of the band's studio output & a staple
of the entire heavy doom genre.

Following up their 2020 EP Barcelona IRREAL delivers eight troglodyte anthems of radikal hardcore punk. Borrowing heavily from the Hear Nothing era DISCHARGE and echoing equally Suomi classics DESTRUKTIONS/ MELLAKKA and AOQ demo era CRO-MAGS, IRREAL creates a maelstrom of hypnotic feedback. Era Electrónica Catalan and Spanish anarchist lyrics bind the bands primitive sonic assault, delivering a modern hardcore punk record without an ounce of modern attitude. Punk as it is meant to be; nasty, aggressive, political and uncompromising. Recorded, mixed and mastered by Markus at No Master's Voice in Copenhagen. Cover art by Arturo PS. IRREAL will be touring the Iberian Peninsula early June with TENSÖ.

Artificial Countrysides is Athens, Ga - based Elf Power's 14th album and
first for Yep Roc Records
The band expand their sound on this record to glorious effect, adding marimba,
harpsichord, synth bass, distorted drum machine loops, and mellotron to their
time tested mix of fuzz guitars, moog keyboards, pummeling drums, and layered
acoustic guitars, achieving a satisfying and unique synthesis of traditional and
futuristic sounds. Lyrically the album mirrors this approach by discussing the
difficulties and advantages of dealing with modern life's digital and artificial
landscape, balanced with the natural world. Elf Power formed in Athens, GA in
1994 and have released 14 albums, two eps, and a handful of singles, while
touring North America, Europe, and Japan many times playing alongside acts like
R.E.M., Flaming Lips, Dinosaur Jr., Neutral Milk Hotel, Guided by Voices, Arcade
Fire and many more. Albums such as 1998's Dave Fridmann-produced "A Dream
In Sound" and 2008's collaboration with the late folk rock icon Vic Chesnutt, "Dark
Developments", have cemented the bands' reputation as the finest purveyors of
modern melodic psychedelic folk rock around. The band became known as a
member of the much heralded Elephant 6 Collective, which includes their friends
and collaborators Neutral Milk Hotel, Apples in Stereo, Olivia Tremor Control, Of
Montreal, and many more.

Surfacing from ethereal and dreamier planes, UK shoegaze and
dreampop act GRAYWAVE are one of the latest additions to the Church
Road Records roster
Following on from their 2021 debut EP proper, Planetary Shift, GRAYWAVE is set
to release their second extended play, Rebirth, on June 24.Formed in Birmingham,
UK in 2019 as a solo venture and creative outlet for Jess Webberley, GRAYWAVE
has already amassed a steady stream of singles and qualitative short form
releases - drip feeding fans a highly ambitious and modern take on dreampop and
shoegaze’s storied sonic spectrum. Returning in 2022, Rebirth is the most
revealing and entrancing look into GRAYWAVE’s evolution as an artist. Trading in
some of the lo- fi tendencies of her earlier output, Rebirth sees Webberley
embrace darker soundscapes and sonic weight across the release’s five
tracks.GRAYWAVE’s latest effort is a confident seizing of identity and assured
meeting point for the project’s initial potential and newfound blossoming. Opener,
Build, and Rebirth’s title track rattle with rhythmic unease and confrontation, as
Webberley’s voice drifts between somnolent hypnosis and arresting command.
Elsewhere, Closer and Exoplanet effortlessly tie together 90s influence in the vein
of Cocteau Twins and Drop Nineteens with a modern touch similar to US
contemporaries Citizen.Following their recent union with Church Road Records,
2022 will see GRAYWAVE continue to shine across the UK live circuit. Having
already sold out hometown shows, as well as getting through to the latter stages
of the Isle of Wight Festival’s ongoing musical showcase that offers a spot on the
festival’s New Blood stage, and performing with UK hardcore upstarts Cruelty.
Living up to its name, Rebirth is already proving to be a fruitful time of growth for
Webberley and GRAYWAVE’s creative self- actualisation - offering fans new and
old the most conceptually realised iteration of the project’s limitless avenues of
artistic promise yet.