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"This is an album to treasure - it'll surprise you at every turn" Joel McIver (Record
Collector) One of the most influential bands to emerge from the UK's festival
scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips,
incredible rave grooves & psychedelic progressive rock. It's an open exploration
of music & the soul. For over 30 years, the Ozrics have experienced the
vicissitudes of the rock & roll life. The band has flourished through a number of
line- up changes, spawned several side projects, created their own record label,
scored a hit record & sold over a million albums world-wide. And yet, the basic
motivation behind the band's existence has never wavered.Their signature blend
of hippy aesthetics & raver electronics with spiraling guitars, textured waves of
keyboard & midi samplers & super- groovy bass & drum rhythms continue to
delight fans across the world to this day.Originally released in September 1999,
'Waterfall Cities' was a giant leap forward for the band, taking a more obvious
step into electronica, whilst still managing to retain their unique sound. An
explosion of keyboards, acid squelches & blistering guitar passages, the musical
& technical brilliance of the Ozrics comes to the fore in strange & unexpected
ways on this album.'Waterfall Cities' - Remastered by Ed Wynne & available on
Double LP via Kscope.

Recorded over a four-week period in early 2022, Freedom Lapse is the debut solo release of Australian multi-instrumentalist and composer Adam Halliwell. A versatile improviser and lover of performance, Halliwell has been an active contributor to numerous musical communities in recent years. The release of Freedom Lapse marks an exciting stage in Halliwell’s journey as an artist with the culmination of several important musical facets that are now becoming foundational to his practice.

As Halliwell tells us, Freedom Lapse owes its genesis to an epiphanic moment experienced whilst traversing a mountainous passage in Mexico, a place where ‘the past present and future stretch out in one place’. Entranced by this environment, its colours, the villages and local life, Halliwell listened to music that inspires him (he cites Jon Hassell here). The result: ‘complete aural, visual and spiritual completeness’, a moment of discovery, he explains. Shortly after, the material that now comprises Freedom Lapse was recorded, distilling this powerful sensorial experience into a body of music that he has now invited the world to share with him.

Throughout these recordings restrained improvised phrases and melodic ideas feature, often appearing as long refrains that soar above idiosyncratic beds of fractured percussion and junkyard bass-work. This use of contrast, which is central to the work, allows Freedom Lapse to tap the lucidity-chaos juxtapositional-style that lies at the heart of all good music in the ‘fourth-world’ idiom. Halliwell’s sensitivity to dynamics, form and narrative is potent on these recordings, which allow his winding, free-improvisations the space to unfold and extend patiently. All instruments on Freedom Lapse were written and recorded by Haliwell, with additional trumpet on Cygon Dance supplied by regular-collaborator Reuben Lewis. Freedom Lapse was mixed and produced by Halliwell and Jim Rindfleish.

Gudu Records label continues a 2023 for the books with Dream Universe, a new four-track EP by Italian duo Hiver.

Based in Milan, Giuseppe Albrizio and Sergio Caio have spent the last decade honing a very special take on electro and machine funk, driven by the duo’s trademark basslines, glossy strings that drip with emotion and an overall utopian nature.

On Dream Universe, a “tribute to early ‘90s house and trance”, built around trance elements, acid bass and Detroit-inspired rhythms made on iconic synthesizers like the Alpha Juno, Juno 106 and the Roland 303, 909 and D-550, they pack more energy and emotion into their music than ever before, from the high-emotional vocal that defines the EP’s title track, to the raw bass hits that drive ‘Lodash’.

At this point, Hiver’s sound is so distinctive that you know one of their tracks the minute you hear it, but Dream Universe feels like the high water mark of their work to date; a duo in complete control of their craft.

Während die Lichter für 2023 ausgehen und wir ins Jahr 2024 vordringen, melden sich die Rough Trade-Shops mit ihrer jährlichen Counter Culture-Auswahl zurück. Die LP enthält 13, die Doppel-CD ganze 35 Tracks. Alles ist abgedeckt, von der chaotischen Partywut von Snooper über den aus den Fugen geratenen Metal von Pest Control bis zum biertrinkenden Spaßfest der Mary Wallopers. Du bekommst Lip Critic im Death-Grips-Style, ein elfminütiges Sludge-Workout von Slift, den Badu-Future-Soul von Liv.e und die 'new kids on the black' Lifeguard mit ihrer einzigartigen Interpretation von Post-Punk. Wie immer leben und atmen die Rough Trade-Shops neue Musik und diese Serie steht dafür.

NORMANS was born on the dirty streets of LA and baptized in the punk rich waters of Hermosa Beach; the city that gave us Black Flag, Red Kross, Minutemen and more.

Years of exposure and participation in the myriad of genres and sounds that make up the vibrant music scene resulted in a multi-genre-bending, bass and synth fueled cacophony that pays homage to the ghosts of The Jesus Lizard, Suicide, Butthole Surfers and The Birthday Party.

NORMANS was born on the dirty streets of LA and baptized in the punk rich waters of Hermosa Beach; the city that gave us Black Flag, Red Kross, Minutemen and more.

Years of exposure and participation in the myriad of genres and sounds that make up the vibrant music scene resulted in a multi-genre-bending, bass and synth fueled cacophony that pays homage to the ghosts of The Jesus Lizard, Suicide, Butthole Surfers and The Birthday Party.

New album by Gonçalo F Cardoso's Hannibal Chew moniker.

Tenerife, 2054: The parrots of a local zoo inexplicably go mad, spreading a deadly virus that only affects humans. Unable to contain the disease, authorities were forced to isolate the island completely, sealing its fate in a perpetual quarantine.

Over time, the island transformed into a sanctuary for wildlife that now roams freely across its territories. Orcas and dolphins claimed the surrounding waters, while gorillas found their home in the mountains around Teide, once a popular tourist destination. The population of parrots and birds multiplied, filling the air with a cacophony of colours and sounds.

The remaining humans on the island adapted to their new reality, living in isolated communities and learning to survive in a world where they are the minority. Meanwhile, the virus continues its advance in the outside world, pushing humanity to the brink of extinction.

Grey Marbled Vinyl

The official re-release of the scarce DJ classic. Ralf Nowy produced this unique mix of Krautrock, Space Disco and proto Techno vibes in Berlin in 1980. The collaboration featuring also famous German star producer Jack White and Tom Müller aswell Vicky Brown from UK as singer who worked together also with bands as for example Pink Floyd, Roger Waters, Cerrone and Bryan Ferry.

Saint Abdullah & Eomac is a long distance, ongoing collaboration between New York based Iranian-Canadian brothers Mohammad and Mehdi Mehrabani (Saint Abdullah) and Ian McDonnell a.k.a. Eomac, based in Wicklow in Ireland. They tested the waters with their first album on Nicolas Jaar's Other People label last year, but 'Chasing Stateless' is their fullest expression so far.

The creative mindset behind the album starts with bravery and eschews escapism. Says Saint Abdullah's Mohammad, "As a collective, we exist to test the revolutionary possibilities within sound and sonic storytelling. As a means to finding a vision of the future and for building cultural dialogue today. Our belief is that the expressiveness of this vision should be pushed to its utmost limits to reveal anew. I always felt that the intensity of the middle eastern soul needs to be revealed more potently. Ian and the Irish have it too. I suspect most historically oppressed cultures do."

The music on 'Chasing Stateless' avoids easy middle eastern tropes — "I think what we're proposing here is that you don't need to water down our culture, you don't need to take only the bits that fit your idea of who we are, what we are. You ought to take it in its entirety."

Musically, the album approaches established genres and re-orientates them towards middle eastern rhythm and melody with an iron soul. Songs are rough and intense. Rusty polyrhythms, daf drums wrapped in a thick coating of distortion or punchy kicks with micro-edited samples of middle eastern life spiralling across them. Mournful melodies are squeezed out until the music teeters on the edge of rhythmic collapse. 'Chasing Stateless' is rough and energetic but also tender and reflective too. It's a human sound, utilising technology but not about technology. Sample heavy with expressions of anger, sadness and hope present and deeply felt.

The album's title speaks to a loss of collective societal imagination; of 'chasing status'. As Moh says "This generation, man, we're really good at putting up walls, despite all our openness. But where does this all lead to? What exactly are we chasing? This is where I especially love the name 'Chasing Stateless,' because if all this continues, we indeed will end up stateless, society-less, community-less, neighbor-less. Just a bunch of same-sies, living in an imaginary bubble, where we all look / think / say / CHASE the same things."

WaterTower Music today announced the release of the eagerly-awaited House of the Dragon: Season 1 (Soundtrack from the HBO® Series), featuring 44 tracks from the first season of House of the Dragon, the Game of Thrones prequel which aired on HBO and HBO Max in August, and whose final season aired last night. All the music for the soundtrack was created by Emmy Award-winning and Grammy®-nominated composer Ramin Djawadi, responsible for the immensely popular scores for HBO's Game of Thrones and Westworld.


Four of Djawadi's tracks were released during the season to great acclaim from fans of the series. Today, fans can enjoy House of the Dragon: Season 1 (Soundtrack from the HBO® Series) in its entirety on 3LP gatefold vinyl, which is now available for pre-order.

In 2006, THE DRAFT was formed by Hot Water Music members Jason Black, George Rebelo, and Chris Wollard shortly after singer/guitarist Chuck Ragan's departure. The three remaining members of the band wanted to continue making music together but chose not to continue under the Hot Water Music name, opting for a fresh start instead. The initial writing and demo sessions included the legendary punk rock guitarist Brian Baker (known for Minor Threat, Dag Nasty, Bad Religion). However, due to conflicting schedules, Baker couldn't commit as a full-time member, leading fellow Florida resident and former Discount member Todd Rockhill to join the band. After releasing their debut album "In a Million Pieces" (produced by the esteemed Brian McTernan) on Epitaph Records in 2006, the band embarked on extensive tours with acts like Samiam, The Gaslight Anthem, and Paint It Black. They also released several singles on the renowned No Idea Label before disbanding in 2008. With both "In a Million Pieces" and all 7" records being out of print for years, THE DRAFT has now teamed up with End Hits Records and Equal Vision Records to release a deluxe vinyl version on double vinyl. For the first time, you can find every track ever recorded by THE DRAFT: Included are the twelve album tracks, six songs featured on three 7" records, two unreleased demo versions, as well as four songs recorded during a radio session in the UK that have never been released before. Not only were all songs remastered specifically for vinyl by Brian McTernan, and detailed liner notes have been added to tell the band's history from beginning to end, but the packaging has also been completely overhauled. A special feature for collectors: the European and American versions come in different gatefold covers, which together form a complete work of art.

There's an ordeal that underpins Low Life's 'Dogging,' and looking back at it, perhaps this was inevitable given the album's exceptionally derogatory attitude to its own scattered sense of time and debris. It's an attitude that's been hosed down in bore water-stained stupor, with all the anguished but forgivable hope and charm of plain packaged cigarettes.

Telephone Explosion proudly presents the self-titled debut LP from Toronto’s UH HUH, out physically and digitally on April 14, 2023. The album features eight tracks of dub-damaged art rock which conjure a potent vision of spaced-out 1980s post-punks feeding their angular rhythms and bass-heavy grooves through layer upon layer of grime-spattered spring reverb.

There is a palpable sense of discovery and exploration throughout UH HUH’s 37 heady minutes. Elastic basslines and serpentine guitar phrases throb and glide, cutting through dubwise reverberations like hands moving through an opaque cloud of reefer smoke.

Formerly known as Teenanger, the reconfigured (and reinvigorated) group’s newfound sense of sonic identity is put on display the moment the door kicks open. The percolating spaciousness of opener “Somewhere Beyond” is followed by the cyclical grooves of “Redemption Pause.” Vocalists Christopher Swimmings and Melissa Ball each take respective turns at lead vocal duties, showcasing their contrasting yet complimentary styles.

“Babylon”, a slab of overcast, loping funk features both singers on the same track, alternating between Swimmings’ stoned syncopation and Ball’s saccharine melancholy. This juxtaposition leans against a backdrop of reverb-soaked drums, watery guitar chords and rippling trumpet.

The slinking, fractured grooves of “Rain (In The Afternoon)” and “Citrus Song” call to mind the deranged minimal dub-wave of Naffi or Vivien Goldman. Both songs feature lyrical content heavily inspired by the Florida swamplands, although the aural landscape on these tracks is decidedly more brutalist than Boca Raton. Two of the songs included here are reworkings of previously released Teenanger numbers. “Blinds Drawn” is reduced to its core elements of bottom-heavy rhythm, spliced guitar shanks and Swimmings’ murmured ruminations. “Good, You”, on the other hand, is completely re-imagined as a blissed-out melt of opiated bossa nova.

After countless hours of experimentation during the album’s recording sessions at Toronto’s Studio Z, the band decided to send their drum machines, snare drums and percussion through an obscure 1960’s Japanese Guyatone guitar amp with a notoriously ecstatic spring reverb sound. The result was immediately inspiring.

The dank, busted and clanking tones produced by the Guyatone evoke a muggy, humid atmosphere that mimics the photo on UH HUH’s cover. The process of re-amping is literally the means through which UH HUH found the sound of this record. UH HUH is a record that asks more questions than it does provide answers. This is searching music that requires that the listener lean into it, the more time you spend in between the beats, bars, notes contained within, the more vivid the picture becomes.

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

‘WAVES’ will make you dive deep in bodies of water, making you get lost in a mixture of downtempo, modern music with sounds of nature and passing time. The dualities of sounds were gathered on a sampler and used to produce beats, rhythms, deep reverbs and delayed echoes via a vintage drum machine.
The opposites of nature are felt through this release, side A containing Cosmic dance tracks and side B relaxing tunes to meditate to at any time. Take it easy and enjoy the slow, lapping atmosphere.

With lush seascape artwork on body and case insert, two inserts with download code.

Seven suites of deep and sprawling sonic meditations built around ‘call and response’ improv sessions between Randy Raine-Reusch and Michael Red.

Slow and tempered recordings of Asian flutes, African harps, temple gongs and a myriad of obscure instruments from Randy Raine-Reusch's deep collection mutate and ebb into swirling gossamers of tone. Sonic incantations stretched and magnified further by Red's Sends. An otherworldly play between light and shadow worlds; at times idyllic and light-filled, at times dark and eerie– all engrossing. Dream-reality reconciliations weave between the spectral world of Michael Red's sound processes and the direct physicality of Raine-Reusch's playing. The tension across the pieces builds between the live playing and processing techniques, dutifully revealing a growing familiarity with collective transcendence through sound (bigger than the sum of its parts). Real-time interactive dream music.

Initially realized over the course of a few days in Randy’s instrument museum in Vancouver BC December, 2014 'ERAS' is made up of processed, and sometimes multi tracked, improvisations between Randy and Michael. Through these sessions Randy would choose instruments he sensed possibilities within, and Michael then revealed and sculpted these possibilities. Both resonating, sensing sonic structures, environmental nuances, and further worlds in each other’s art, all within the moment. Being present for each other, they acted on instinct, trusting a first thought, trusting each other; committing, responding to that commitment, then mutating and letting go. Always moving forward, synthesizing and letting the living moment lead the way.

The recordings were left to distill and mature for many years before the composers felt it was ready. With minimal judicious edits and a very light dusting of FXs, both careful to preserve the direct and intuitive process that permeates the recording, ERAS now emerges.