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Wewantsounds is delighted to reissue "Mawood" one of the cornerstones of Egyptian music, recorded in 1971 by legendary Arabic singer Abdel Halim Hafez. Famously sampled by Jay-Z on "Big Pimpin"" for one of his 60s tracks, Hafez is captured here live with his full orchestra including Omar Khorshid on guitar. the album mixes traditional Arabic music with modern instrumentation and shades of 70s groove. "Mawood" is one of Hafez"s all-time classics, written by the legendary composer Baligh Hamdi. This release has been newly remastered for vinyl and features the original LP artwork with a 2 page insert featuring a new liner notes (English/French) by Mario Choueiry (IMA, Paris) who curates Wewantsounds" Arabic series of reissues.

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

PALE GREEN STARS VINYL

Summer at Land's End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land's End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land's End combines Donaldson's rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight. For listeners who may not be familiar with Donaldson's corner of San Francisco--the Richmond district--or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land's End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others. This deliberate saturation in drama and ambiance, along with some of Donaldson's best songwriting to date, is what gives Summer at Land's End its special class in the project's discography. Of the album's cinematic mood, Donaldson refers to films like Summer of '42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson's prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It's a pleasure to experience Summer at Land's End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Mondo, in partnership with WaterTower Music, is proud to present Michael Giacchino's absolutely brilliant score to Matt Reeves’ highly anticipated THE BATMAN. Featuring the music of Academy, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including THE INCREDIBLES, COCO, JOJO RABBIT, RATATOUILLE, STAR TREK, JURASSIC WORLD, ROGUE ONE: A STAR WARS STORY, SPIDER-MAN: HOMECOMING, and WAR FOR THE PLANET OF THE APES. This is the fifth film Reeves and Giacchino have collaborated on.

Giacchino proves himself, once more, as one of the greatest living composers, by introducing a powerful and instantly canonized new theme to one of the most musically iconic superheroes. When director Matt Reeves heard the theme for the first time, he was with film producer Dylan Clark. “I was blown away!” He exclaimed. “It was so emotional. The two of us literally cried…it was amazing.”

Though it's not only the world's greatest detective who emerges with a new theme - Selina Kyle / Catwoman's new string heavy theme is slinky and haunted like that of a classic noir's femme fatale. And Giacchino's take on The Riddler is far more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and dread-inducing motif for one of the scariest takes on a Gotham villain, to date.

With nearly two hours of score, housed on three discs, featuring all new artwork by Henry Abrams.

Composed by Michael Giacchino
Artwork by Henry Abrams
Manufactured in Czech Republic

Café Türk, an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus, and western Europe. The group's frantic trajectory connects the Swiss town of Schaffhausen and the Turkish city of Kars, eastern Anatolian city of Turkey with a background story as rich and unexpected as their sound.

With his first release since 2015, Seattle based Indie-folk hero Rocky Votolato returns with Wild Roots, an intimate concept album inspired by and written for his family. Each song a letter dedicated to a specific family member and focused on a special memory or moment in time. After losing his child in December of 2021 in a tragic car accident, the entire album, and especially the song “Becoming Human”, now a posthumous love letter, takes on an even deeper while devastatingly bittersweet meaning. The production on Wild Roots is hushed, handcrafted, and warm — an intimate and personal experience that brings the nature of Votolato’s storytelling to life in very authentic and genuine ways. Produced, engineered, and mixed by Votolato himself, the record is a deliberate construction of his conceptual vision and new phase of his recording career. Additionally, the record features a stellar cast of renowned musicians whose contributions perfectly compliment the delicate nature of these songs — Abby Gundersen (William Fitzsimmons) on piano, string arrangements, and vocal harmonies, James McAllister (Sufjan Stevens, The National) on drums and percussion, Phil Wandscher (Whiskeytown, Jesse Sykes and the Sweet Hereafter) on electric guitar, and Marcel Gein (Perry O’Parson) on electric guitar. In many ways, Wild Roots is not only a break in silence for Votolato, but the opening of a new chapter — one that feels laser focused on what really matters in life. Whether discovering Votolato for the first time or adding another record to your collection, Wild Roots resonates on the most simple and important human levels — a sharing of experience that encourages us to keep believing in ourselves and in the magic of this life, no matter how harsh and difficult it can be.


Track list: 1. Evergreen 2. 23 Stitches 3. Glory (Broken Dove) 4. There is a Light 5. X1998x 6. Becoming Human 7. Breakwater 8. Little Black Diamond 9. Archangels of Tornados 10. The Great Pontificator 11. The Wildest Horses 12. Little Lupine 13. Bella Rose 14. Southpaw 15. Texas Scorpion (The Outlaw Blues)

David Gedge says: "During our `Hit Parade' series in 1992, there were a couple of Science-Fiction-themed singles, namely `Flying Saucer' (July) and The Queen Of Outer Space (November). And, would you believe it, I've only gone and done it again, haven't I? Thus, hot on the heels of last month's `Astronomic' comes the November single, erm... `Science Fiction'. It's not about the whole genre as such; the title will make sense when you hear the song. Although it's quite a sad lyric I, rather glamorously, wrote it whilst enjoying the amenities of a fancy hotel in Hollywood, so maybe the proximity of the film industry inspired me. Talking of inspirations, one band that has influenced The Wedding Present, off and on, over the years is The (mighty) Fall. And I don't know if they even planned it but, on `Plot Twist', Jon's spiky guitar riff and Melanie's crunchy bass line totally remind me of the classic Craig Scanlon / Steve Hanley combination that was memorably to be heard on sessions like the one recorded for John Peel in March 1983. Suitably inspired myself, when writing this lyric, I decided to also reference The Fall (for the second time in Wedding Present lyric history, the first being `Take Me!' some thirty-three or so years ago)." Penultimate release in this monthly series, in 2022 The Wedding Present will be releasing a new 7" single every month, the last but one is available for indie record stores only soon. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan

Earl McKenzie & Clive Gardiner are two lifelong friends who grew up together in Southall, West London, UK. Their mutual love of soul and funk inspired them to form a 7-piece band, The Class of 78, while still at school and years later became the duo, McKenzie & Gardiner. They made their first demos in 1983 followed soon after by a 12" single ”From Time” which became a highly sought-after Boogie-Funk Rare Groove. With their reissue of Timestamp—an album that has been championed and promoted by funk luminaries like Dam-Funk and Funk Freaks—the duo offer a deluxe edition to the 2014 version that’s been long sold out. Included, is an expanded version which has been remastered and repackaged as the appropriately titled, Timestamp: The Collection. To boot, this double disc LP is equipped with detailed liners that includes a lyric sheet, making this CQQL Records’ bespoke reissue something special!

Great songs are not set in stone - since he burst from the blues clubs of Louisiana onto the global music scene with 1995's breakthrough first album, Ledbetter Heights, followed by his career defining second album, Trouble Is..

in 1997, Kenny Wayne Shepherd has twisted those classic cuts into bold new
shapes each night on the stage. Led by the pulse of the crowd, every last note
alive in his hands, the Trouble Is... tracks have always been on the move, never
settling into museum pieces.
But to give a quarter-century-old album a second birth is another matter. And in
more recent times, as the five- time- Grammy- nominated, multi- platinum- selling
artist looked up the road and saw the 25th anniversary of Trouble Is... on the
horizon, he hatched an audacious plan."One of the coolest things about rerecording Trouble Is... has been finding out or verifying how timeless this album
really is," says Shepherd, who also is leading a triumphant anniversary tour across
the United States in 2022 and 2023, performing the album in full. "I'm so proud of
what we accomplished, and also the fact I was just 18 years old when I did it. I
mean, I had an experience with this album that most musicians can only dream
about. Trouble Is... sold millions of copies. There's validation in all of that for me."
The Artbook package contains: 2LP on Gold Vinyl, CD, DVD and Blu- ray of the
Trouble Is... 25th Anniversary Show in the Strand Theatre in Shreveport, Louisiana
and a documentary about the making of the album, plus a Dolby Atmos audio Bluray that is exclusive to this release.

Recorded and produced in their top of the range, custom-built analogue
home studio based in their Liverpool flat, forthcoming album HISS was
painstakingly and lovingly crafted by the band, who reveal themselves as
true audiophiles and songwriters of the highest calibre in the process
The record sees the band coming full circle, triumphantly returning to the lofi
roots that began their journey. Traversing the subsequent ups and downs of indiepop stardom since their major label debut in 2017, the band have found
themselves most at home back where it all began "at the quiet, sentimental heart
of their delicately unfurling, midnight- hour- favouring songwriting magic, with
complete creative control."Of the cathartic nature of the undertaking, Halls says:
"HISS is as honest an album as I'll ever be able to make. It was winter 2020; the
whole world had ground to a halt, and the pain of being separated from pretty
much everything I love had begun to turn into music in my head."

Hot off her 2022 GRAMMY win for Best Latin Jazz Album for 'Mirror
Mirror,' with Chick Corea and Chucho Valdes, superstar pianist, singer,
composer and arranger Eliane Elias returns to her Brazilian bossa nova
roots with 'Quietude'
A luscious collection showcasing her alluring vocals with her virtuosic
instrumental jazz and piano mastery, the recording features songs by such
legendary composers as Antonio Carlos Jobim, and Dorival Caymmi along with
Dori Caymmi, who joins her on vocals for the closing track of the recording.

Shelter Press extend a quietly cine-poetic invitation to visit the Outer Hebrides via immersive sounds - field recordings of psalm singing and local dialect - collected and arranged by interdisciplinary artist Joshua Bonnetta, going hand-in-hand with Shelter Press’ core interests in the fading light of its 10th year in operation. A beautiful artefact - complete with 60 page photobook.

Accompanied by an evocative photo study and access to an accompanying film and essay, Bonetta’s second release for Shelter Press following 2016’s ‘Lago’ imparts a real feel for the archipelago, off the north west coast of Scotland, where he was stationed during an artist’s residency during 2017-2019. Stitched together from observant field recordings and interviews with residents on the islands of Barra, Berneray, Harris, Lewis & North Uist, the work elicits a sense of timelessness in its slow drift between shores, hills, standing stones and the intimacy of its voices, including Gaelic spoken word, folk song and whistling. Save for the appearance of a plane overhead, the sounds of car and boat motors, plus a little bit of electronic disturbance that pull you into the modern era; the results practically imagine what it would have been like to visit the islands with a recording device at any point since the last ice age. 

For Bonetta, who hails from rural Canada, the similarities between his formative landscapes and those of Scotland must have appeared familiar, perhaps a subconscious recall/reminder that the two places shared a landmass, albeit 425 million years ago. His sound sensitive subtlety and cinematic ear in arranging his collected sounds serves to highlight the way the modern world only just infringes on Innse Gall’s ancient landscapes and only relatively modern tongues (if we’re thinking in geologic terms of scale). We hear the sounds of its avian population seamlessly eliding its humans in the whistling of Alick Macauley, and the natural cadence of of its mild oceanic climate mirrored in lilting Gaelic folksong, here performed by Calum McDonald, Joey Morrison, and Maggie Smith, and more generally practiced by only a tiny percentage of Scotland’s population (some 1%) but still surely alive in its meridian isles where time moves much more slowly.

With the nuance and poetry expected of a Shelter Press title, ‘Innes Gall’ reflects on the area’s anglicised name, meaning “islands of the strangers”, with calming, soberly documentarian results as heartwarming and fascinating as a visit to the area, just without the effort of travel, and from the comfort of your own living space. Bonnetta is incapable of ignoring the cinematic frame, and intersperses each shot with enough poetry to keep you entranced.

1991 recording led by Swedish vibraphonist Lars Erstrand, which is
appearing on vinyl for the first time - this remastered edition is pressed
on 180g vinyl
Erstrand's third recordings for Opus 3, this time with his quartet, which includes
one of Sweden's best keyboard players, Kjell Öhman, playing both the piano and
Hammond B3 organ. Lars Erstrand, who has been ranked as No.3 in the world on
his instrument according to Jazz Journal International, is also joined by Leif "Gus"
Dahlberg on drums and Tommy Johnson on bass.
"Erstrand is always unhesitating, fluent playing gives the unfailing impression of a
musician in total control He can depict the most ethereal moods, as in the title
piece Dream dancing...One is struck, not least by his sense of sound and nuance
in this consistently well constructed, subtle performance...An obvious candidate
for Recording of the Year!" - Audio Video

Che spent her formative years living the troubadour life playing local clubs in
Vancouver, becoming embroiled in the Toronto indie music scene and touring
worldwide as a solo artist and with her critically acclaimed band 'Casualties of
Cool', a joint venture with prog behemoth Devin Townsend.
The Crowned shows a side to Che seldom seen on record before. A more
confident and determined thread runs through these songs, signalling the birth of
a new era for Che.
Inspired by her love of Trip Hop, Folktronica and Soul, The Crowned has Che's
signature all over it whilst reaching out into new sonic environments. Half of The
Crowned's tracks produced by Bob Rock pre-pandemic and half of the tracks selfproduced post pandemic, this album tells a story of an artist's evolution and
growth.
You are looking at a woman who still has a sense of individualism combined with
a drive and vision that is growing increasingly rare in this day and age. An artist in
the truest sense of the word, a product of passion and not curation.
She has previously worked with LA with hitmakers Greg Wells, David Foster and
Kara Dioguardi; performing with Michael Buble, Kim Churchill and Dan Mangan
and releasing music with industry heavyweights Andrew Loog Oldham (Rolling
Stones) and Tom Sarig (Lou Reed). Most recent work includes a collaboration
with Juno nominated EDM duo Young Bombs, a darkly lit duet with the late Gord
Downey (The Tragically Hip) and a featured performance on Devin Townsend's
'Lightwork'. She also collaborated with Townsend on 2014's Casualties Of Cool.

Pravda's release of ‘Music For Neighbors’ marks the 40th anniversary of
the formation of The Trypes from New Jersey
Pravda's release of ‘Music for Neighbors’ marks the 40th anniversary of the
formation of The Trypes in the blue- collar New Jersey town of Haledon, which
was the hometown of The Feelies and later spawned kindred bands Yung Wu and
The Willies.
How Haledon became an incubator for these bands, who went on to spread their
sound far and wide, is a matter of speculation. Maybe it was just a place in time
in the early 80s when anything seemed possible to a group of suburban friends.

Over the last two years, the Innate and We’re Going Deep labels – run by friends Owain K and Placid respectively – have become must-check imprints for those seeking brand-new, timeless-sounding electro, deep house, acid and techno. Now the pair are joining forces on a new collaborative venture that looks to the past for inspiration: InnDeep.

Focused on unearthing and showcasing slept-on gems from across the deep spectrum, the reissue-focused label will have an emphasis on UK producers and imprints whose work in the ‘90s and 2000s has arguably been criminally overlooked.

To kick things off, they’re taking a deep dive into the back catalogue of Headspace Recordings and Emoticon co-founder Tom Churchill, a Welsh producer whose trademark take on deep house achieved cult status in the late 1990s and early 2000s.

The Personal Interpretation EP was first released on Headspace way back in 1997, and dates back to a time when Tom was the very definition of a bedroom producer. He created the EP’s three tracks while still a teenager and mixed them down using the same pair of headphones he used for DJing.

Now painstakingly remastered, the EP sounds every bit as immersive and intergalactic as it did at the tail end of the last millennium. On the EP-opening title track, Churchill builds a sturdy, chunky groove out of clicking, hissing and metallic percussive elements and a wonderfully deep, tactile bassline, over which gorgeous chords, melodic motifs and eyes-closed vocal snippets stretch out as if reclining in the afternoon sun.

Churchill opts for a deeper, Detroit-influenced sound on ‘First Principles’, with undulating electronics and a raw analogue bassline working in unison with ghostly chords and deep space melodies, while ‘Crossed Wires’ is a tispy, off-kilter epic – all breathless drum machine rhythms, pots-and-pans percussion, woozy chords and weighty sub-bass. It provides a fittingly energetic, out-there end to a long-overlooked EP that remains as fresh now as it did back in 1997.

Extremely rude, extremely powerful, extremely Detroit. You will never miss this one if you are on the dance floor. The boss of Visillusion records was one of the first music producers and DJ’s who dipped his toes into the deep black pond of techno. Actually, that was so long ago that nobody knew the name of this genre at the time. From 1987 he has appeared under different monikers around the globe for many occasions and he is definitely cannot be stopped.

Fresh three-tracker from Thomas Barnett is a gold horse. Moscow-based Exarde has got you covered if you are one of those DJ’s who like lifting heavy weights. Just pop the A-side on the deck without even looking and let this warehouse bounce. But don’t forget to flip it in a few minutes because the B-side has a more experimental feel if we might say and just can’t be missed by any electronic music aficionado.

With his new EP “Insides”, Palham Music owner Pressburg, delivers a true minimalist house masterpiece.

Dubbyrim starts off with taperecorder processed dub chords, guided by a haunting (-lybeautiful) bassline. Memory Gospel is J Dilla having musical intercourse with Lowtec. And With You is slower, sensual four to the floor house music at its best.

With this record, Pressburg expands his musical horizons, not only sticking to previous experimental records he made, but taking those experiments now to the dancefloor.
We are very happy that renowned dj's such as Move D, Roger 23. Sensu and Lerosa have included the tracks already in their setlists.

This is Pressburg’s first throw on Someguy Records.

ABOUT PRESSBURG:
Pressburg lives in a rural idyll on the foothills of the Thuringian Forest. That’s where he produces his meandering tracks which he has been releasing on his house label Palham Music, since 2003. His approach is technically cognitive, fitting for his reservedly modest character.

ABOUT SOMEGUY RECORDS
Someguy Records is the brainchild of G?s Ramboer, aka Someguy, a political journalist with a passion for music. The label aims to be a haven for house music artists that don’t strictly aim for the peak time of the party, but rather provide that surprising opening or closing track. There’s no rules to what or who is involved with the label, but most acts are situated left of the center.

Current and future acts include:
Someguy, Different Fountains, Pressburg, Sensu, Mikkel Metal, Mary Yalex, D man.

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

The liminal space between storytelling and dreaming is full of noise. Like whispers, flickering lines of static travel to the rhythm of tension, moving through moments of stillness and chaos. The sharp details of the hyper-personal become shared memories.

Dreams can be stories, their fabric transient and their logic malleable - like folk songs carrying ancient knowledge or clairvoyant wisdom.

White Dove Dream tells a story that only sound can. One that defies language and closed narrative; a story that is both a personal rumination and collective conversation.

There are layers of healing synthesis and dream logic improvisation; captured recordings coalesce somewhere beneath the scramble like deja vu. Like a diary entry, or a manifesto - noise is folk music and Icebear is noisy.

Icebear is Eilis Mahon, a sound artist from Kildare, Ireland.

White Dove Dream is her debut release on Weeding - an independent label and collective of friends based primarily in Dublin, Ireland, who love to make and share noise.

Recent play of “Funny Games / Garfield” on Pure Soil - NTS.

Judy Pollak's late 70s LP is extremely rare and charming peace of music. Not just a Soul and Funk LP, sprinklings of folkiness in Judy's vocal make this a fairly unique and fantastic listen, no wonder it can hit $1000 when it comes up for sale. Recorded in 1977 at PAC 3 Studio, Dearborn, Michigan, where bands such as Al Hudson, Floaters, C.J. & Co and many more recorded. Judy used to hang out on the music scene and was introduced to the band via a mutual friend and Sax player Charlie Gabriel. 33 1/3 who were from Detroit got together with Judy who was living Living between Southfield, Michigan and North Carolina at the time and this LP is the result. Enjoy.

Talented multi-instrumentalist Flevans returns with his most musically expressive and personal long player, 'A Short Distance To Fall'.

A largely instrumental album, though peppered with lush vocal samples throughout, 'A Short Distance To Fall' is a listening experience and one meant to be savoured from start to finish - drawing you in and guiding you through an ever changing musical world, taking in snippets of electronica, disco, funk, beats, soul and downtempo - delivering them all with a warm, musical, lo-fi aesthetic.

With nods to luminaries such as The Avalanches, early Ninja Tune and Nightmares on Wax through to contemporaries such as Folamour and Art of Tones, the challenge was to create something cohesive that could traverse the different genres he loved whilst remaining true to the Flevans sound.

Diverse and eclectic, yet warm and cohesive throughout - from the atmospheric beats of 'In Shadows' the uplifting radio-ready warmth of first single 'It Take The Whole Day', the lurching groove of 'We Walk Alone' through to the driving disco of 'Digits' and 'I Got Soul', the album rewards repeated listens, never sitting still on one style or sound.

"Soutien Gorge" make a much welcome return to release their latest album "Tarskapcsolatodban" on "Touched Music". I'm not as familiar with their backcatalogue as I would like to be but intend to remedy that ASAP! The double CD compilation "Meseerdö" on Touched Music is a great place to do that... Soutien Gorge are two guys from Hungary who make interesting experimental electro-acoustic music. Their first release was around 2002, making this release their 20th anniversary release ! This latest release Tarskapcsolatodban by Soutien Gorge makes me think fondly of a lot artists on labels like City Centre Offices, Morr Music, and some outlyers on Warp Records. Musically coming in somewhere between, ISAN, B. Fleischmann, and Plone. The melodies have simple, often nursery rhyme like appeal. Arrangement wise there are acoustic and electronic instruments, with some field recording elements, and and sampling of speech in to me what is just a foreign language and difficult to understand. Good use of guitars to create additional layers at times remind ne of Duo-505, the B. Fleischmann side project. The field recordings and reserved electronics reminds me of the 2018 "Wanderwelle" album "Gathering Of The Ancient Spirits" on "Silent Season (Canada)".

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1967, he met Jean Kluger who became his publisher. In the 1970s, their tandem stood out in those fields, for a plethora of popular French artists such as Petula Clark, Claude François, Joe Dassin, Dalida, Régine, Sheila and Ringo. 1975 saw the birth of Vangarde’s label, Zagora, and his first and only solo LP. Later on, Vangarde and Kluger were responsible for a number of hit songs by The Gibson Brothers, Ottawan and La Compagnie Créole. With or without Kluger, Vangarde also wrote and produced songs that remained underground, under several monikers (Starbow, Who’s Who, Soul Iberica Band, Yamasuki, Rocky & Vandella…) and for various artists. Let’s open these incredible cosmic disco funk vaults! Available on Double Vinyl (featuring 2 exclusive tracks) & CD .

Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig

'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'

Helga Myhr is a highly regarded Hardanger fiddle player and singer
She has participated in a number of ensembles and has played in a variety of
genres. In this work, originally composed for the 2020 Osa Festival, she combines
her roots in traditional music from Hallingdal with her distinctive form of musical
exploration. This release unites music and visual art on glorious vinyl, designed
by the award-winning artist Solveig Lønseth.Helga Myhr grew up surrounded by
folk music. Today, fiddle tunes are what lie closest to her heart:
"Fiddle playing encompasses infinite possibilities, and it is these possibilities that
inspire me when I create new music. People who know fiddle music well might be
able to hear which tunes or 'layers' I have used, but sometimes it is more subtle" -
Helga Myhr.
The music on this recording was composed specifically for the outstanding
musicians who appear on the recording. Their exceptional musical and creative
qualities have had a profound impact on how the music sounds: "Malin Alander
has a fabulous voice that she can shape and stretch with amazing suppleness;
Adrian Myhr produces a warm bass sound, with lovely and intricate melodic lines;
Michaela Antalová has a superb groove, and she creates elegant tones on the
willow flute; multi- instrumentalist Rasmus Kjorstad adds compelling sound
variations and tasteful contributions on the Norwegian zither, octave violin and
Jew's harp", Helga Myhr explains.
Poems by Margit Lappegard (1918– 2011), from Leveld, Ål in Hallingdal, are
included in three of the tunes. Lappegard was a beloved poet who attracted
considerable attention with her poetry collection "Noko vil alltid lysa", first
published in 1988.
Helga Myhr's solo album "Natten veller seg ut" was released in the autumn of
2019 on the Motvind Records label, and was nominated for a Norwegian Grammy
Award (Spellemannsprisen). Myhr plays in several groups and ensembles,
including the band Morgonrode, which won a Norwegian Grammy in 2019. She is
also a member of Kvedarkvintetten, Dei kjenslevare and a duo together with Tanja
Orning.

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

The current moment in music is an interesting one: electronic music is more popular than ever, but at the same time there is a growing counterworld of new bands and musicians who are inventing new styles by reinterpreting old styles and combining live music with electronic production. Many of these new musicians are switching between "scenes" and styles - just like many young listeners do today. Kryptox, the sub-label of Toy Tonics, is a platform for these new hybrid musicians. Noah Fürbringer is one of these new talents. Moving in these intermediate worlds - a virtuoso drummer, composer and busy band leader who is at home in many genres and besides writing his own great music which he debuts on this album he also is a side musicians for some big names of the German rap and indie pop scene.

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

Y Bülbül is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut “Fever”.

“Not One, Not Two” is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bülbül laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.

Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two,” like the organic acid bassline in “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.

Bülbül is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Kōan-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.

»Hallway Waverider« is Mikko Singh’s second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analogue recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. “This record is like me telling my teenage self that I am OK,” says Singh. “Back then, I was recording my song ideas on cassette players but held the belief that music should be recorded in an expensive studio with expensive gear in order to be real.” As it turns out however, Singh had been right from the start, having come full circle as an established artist some twenty years later.

After exploring the affordances of vintage equipment for 2019’s »Cloud Formations« LP, Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for »Hallway Waverider«. By experimenting extensively with the machines’ unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs.

The title of the album refers to Singh’s halcyon days as a teenager spent listening to punk music and—in wintertime—skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. “It’s about things in life that are important to me; things that make me feel good and soothe the mind,” he explains. It comes as no surprise then that »Hallway Waverider« is also dedicated to a key figure in his life. “The album is an ode to my mother who passed away in 2015,” says the artist. “She made it possible for me to have a good childhood and to be able to do what I love.”

This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight,” expressing a calm that perfectly mirrors the music’s steady grooves and welcoming overall feeling. Starting with the upbeat »River Park/ Sleeping Pill«; to the almost ambient, synthesizer-heavy »A Bottomless Pit«; or short, punk-inspired and bassline-driven outbursts like »Watered Down« or »Halulu Lake«; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. They are connected by that rare thing: a unique musical vision expressed by an instantly recognisable sonic signature.

Among the great moments in the career of Blossom Dearie, an exceptional singer and pianist, are the concerts she gave and recorded in the Netherlands between 1968 and 1989, of which we have a faithful reflection here, thanks in particular to a fine recording. She dominates all instrumental formats, from solo to the large Metropole Orchestra, and all repertoires, from the film song "Raindrops Keep Falling On My Head", which she magnifies, to Joni Mitchell's "Both Sides Now", which she renews with intelligence, not forgetting a masterpiece for which she is responsible, "Winchester in Apple Blossom Time". Not forgetting her other personal works, as well as "Bring All Your Love Along", of which we hear the first recorded version here. Blossom's sublime farewell, eternal spring, in the form of a delicate reverence.

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

Jerry Lee Lewis, Spitzname ”The Killer”, ist ein amerikanischer Rock’n’Roll- und Country-Sänger, Songwriter und Pianist. Als früher Pionier der Rock’n’Roll-Musik wurde Lewis 1986 in die Rock’n’Roll Hall of
Fame aufgenommen, und sein bahnbrechender Beitrag zu diesem Genre wurde von der Rockabilly Hall of
Fame anerkannt. Im Jahr 2004 setzte ihn das Rolling Stone Magazine auf Platz 24 seiner Liste der 100
größten Künstler aller Zeiten. Im Jahr 2022 wurde er in die Country Music Hall Of Fame aufgenommen.
Am bekanntesten ist er für seine Sun Records-Hits ”Great Balls of Fire” und ”Whole Lotta Shakin’ Going
On”.

Last 30 copies in stock now. The album is now in the Scottish album of the year shortlist. LP on very Limited HILL FOG CLEAR vinyl. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. First pressing on “Hill Fog” Colored Clear Vinyl, limited to 500. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time. Tracks: Side A 1. I Can’t Wake You 2. The Merry Dancers On TV 3. Set Aside Some Time 4. Spirits In The Roof Tree 5. Altona Side B 6. Weave of the World 7. One Word Away 8. Little Marble 9. What’s Left To Say 10. WEICHA

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.