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Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record.

The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen.

The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded.

Sleevenotes also include a letter from Ron Forbes:
“I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”.

Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

Es braucht nur ein paar Sekunden, bis die verführerisch honigsüß-rauchige Stimme von Sängerin Jillian Taylor, Johnny Scarps' satte, knackige Gitarrenriffs und Sean Hurs große, beinahe nostalgische Rockorgel auf '1000 Years', dem ersten Track von RUBY THE HATCHETs neuer EP "Live at Earthquaker" ihre Hooks fest in Herzen und Ohren versenken.
Durch die Adern von "Live at Earthquaker" pulsiert eine organische, rohe Energie, da die EP im Hauptquartier der EarthQuaker Devices in Akron, Ohio während der US-Tour mit KADAVAR komplett live aufgenommen wurde. Die drei Tracks bestehen aus zwei frühen Versionen brandneuer Songs, die auf dem für 2022 angekündigten neuen Studioalbum der Riff-Rocker in überarbeiteten, voll produzierten Fassungen erneut auftauchen werden. Mit ihrer erstmals in physischer Form erscheinenden, wilden Interpretation von URIAH HEEPs 70er-Hymne 'Easy Livin'' setzen RUBY THE HATCHET der EP das Sahnehäubchen auf.
"Live at Earthquaker" ist ein köstlicher Vorgeschmack auf die mit Spannung erwartete Rückkehr der Band aus New Jersey mit einem frischen Album und Konzertreisen im Jahr 2022.

Es braucht nur ein paar Sekunden, bis die verführerisch honigsüß-rauchige Stimme von Sängerin Jillian Taylor, Johnny Scarps' satte, knackige Gitarrenriffs und Sean Hurs große, beinahe nostalgische Rockorgel auf '1000 Years', dem ersten Track von RUBY THE HATCHETs neuer EP "Live at Earthquaker" ihre Hooks fest in Herzen und Ohren versenken.
Durch die Adern von "Live at Earthquaker" pulsiert eine organische, rohe Energie, da die EP im Hauptquartier der EarthQuaker Devices in Akron, Ohio während der US-Tour mit KADAVAR komplett live aufgenommen wurde. Die drei Tracks bestehen aus zwei frühen Versionen brandneuer Songs, die auf dem für 2022 angekündigten neuen Studioalbum der Riff-Rocker in überarbeiteten, voll produzierten Fassungen erneut auftauchen werden. Mit ihrer erstmals in physischer Form erscheinenden, wilden Interpretation von URIAH HEEPs 70er-Hymne 'Easy Livin'' setzen RUBY THE HATCHET der EP das Sahnehäubchen auf.
"Live at Earthquaker" ist ein köstlicher Vorgeschmack auf die mit Spannung erwartete Rückkehr der Band aus New Jersey mit einem frischen Album und Konzertreisen im Jahr 2022.

Turbo Recordings presents its grandest achievement yet, a reimagining of Plastikman's 1998 magnum opus "Consumed", Transformed as a new collaborative composition between original artist Richie Hawtin and musical genius Chilly Gonzales. This is an album three decades in the making, brought into the world by Executive Producer Tiga. A masterpiece of restraint, depth, and music as architectural vision, "Consumed" was profoundly influential, defining the soon-to-emerge minimal movement. Shortly after its 20th anniversary, Chilly Gonzales was inspired to compose accompanying piano pieces (counterparts) for each of the tracks and shared them with Tiga, who became the conduit between both artists and led the project to fruition on his label. Hawtin mixed the new combined work, allowing each artist their own space within the project,more of a sonic conversation between them than a conventional collaboration. Consumed in Key will be available as a deluxe triple vinyl LP. The artwork is a reinterpretation of the original album's, flipped to black and white and with the cutout size transposed to the dimensions of a piano key, the die-cut in the white outersleeve revealing a shiny black foil stamp on the black innersleeves.

Mit ihrem neuen und dritten Studioalbum "Ad Astra" melden sich BLOODRED etwas mehr als ein Jahr nach der Veröffentlichung ihres letzten Albums "The Raven's Shadow" zurück und zeigen sich reifer und vielschichtiger denn je!

Musikalisch hat Ron Merz daran gearbeitet, die Charakteristika von BLOODRED weiter zu verfeinern, ohne den typischen Sound aufzugeben. Auf dem Album finden sich wuchtige Death Metal-Songs neben epischen Hymnen mit mehr als nur einem Hauch von Black, einprägsame Melodien und komplexe Songstrukturen. All dies gipfelt im Titelsong, der mit einer Spielzeit von über 11 Minuten alle typischen BLOODRED-Merkmale vereint und den Hörer absolut herausfordern will. Jeder Song kann auf dem neuen Album für sich stehen und dennoch ist "Ad Astra" ein stimmiges Album, das alle Fans von extremem Metal unbedingt im Auge behalten sollten.

"Stormborn" ist das Re-Release des sechsten Studio-Album der Power Metal-Macht BLOODBOUND aus Schweden. Aufgrund der hohen Nachfrage ist es endlich wieder als Vinyl erhältlich!
Auf dem Album zelebriert die Band die Klischees des Genres; theatralische Arrangements, treibende Riffs und eingängige Refrains, ohne dabei kitschig zu wirken.
Das Coverartwork stammt von Tom Thiel (Brainstorm, Age Of Pirates, Die Siedler, Wildlife Park), Album-Mix und Mastering von Jonas Kjellgren (u.a. Sonic Syndicate, Steel Attack, Scar Symmetry).
Das Album erscheint als farbige Gtf. Vinyl (clear yellow) und als limitierte Gtf. Vinyl (orange/ black marbled, 300 Einheiten).

"I Can't Let Go" ist das erste Album der britischen Sängerin und Schauspielerin Suki Waterhouse und wurde von dem Grammy-nominierten Produzenten und Songwriter Brad Cook (Bon Iver, The War On Drugs, Snail Mail, Waxahatchee) produziert. Neben ihrer Tätigkeit als Schauspielerin (The Bad Batch, Assassination Nation, Misbehaviour) und Model (Burberry, Ferragamo, Tommy Hilfiger) katalogisiert die Britin ihre intimsten, prägendsten und bedeutendsten Momente ihres Lebens am liebsten in Songs. Die in London geborene und aufgewachsene 30-Jährige fühlte sich schon früh zur Musik hingezogen und sah das Medium immer als eine Möglichkeit, Kreativität auszudrücken und Geschichten zu erzählen. Bis heute haben Bands wie Oasis einen ganz besonderen Platz in ihrem Herzen, Suki hört aber auch gerne Songwriterinnen wie Sharon Van Etten, Valerie June oder Lou Doillon. Bevor sie sich mit dem angesehenen Produzenten Brad Cook für ihr Sub Pop-Debüt zusammengetan hat, erschienen bereits die auf eigene Faust veröffentlichten Singles "Brutally", "Good Looking" und "Valentine", die auch ohne großes Label im Rücken bis heute fast 20 Millionen Mal gestreamt wurden.

* Legend of the Brazilian scene, DJ Andy, has assembled some of the brightest lights, and hottest rising stars of the Brazilian Drum & Bass family and brought them all together on one huge compilation!
* “When we talk about Brazil we don't just mean Rio de Janeiro, samba, beaches and football. This compilation has music for all tastes. We are 100% connected.” - DJ Andy
* With a history stretching back to the very beginnings of rave music in the early nineties, DJ Andy is a foundational figure in Brazilian drum & bass. He's seen the trends and fashions, the sub-genres and evolutions, the mainstream hits and the underground anthems. He knows the music inside-out. And, with this compilation, he's offered us an insight into the kaleidoscope of styles and the surge of talent that his scene has to offer.
* Of course, the Chronic and V faithful will have already been introduced to many of these artists. We're talking the likes of L-Side, Alibi, BTK, Critycal Dub and more; names we all recognise from the top end of the download charts and the set lists of the biggest deejays in the business. But then there are also those making their debut for the V family. Producers like Phizical and No Scandal, who are about to find a whole new, highly appreciative, audience.
* With this strength in depth available to him in the community, DJ Andy's managed to draw together 20 tracks that reflect the full range of what this music has to offer. You'll hear influences from multiple genres, you'll hear the darkness and the light, the vibrancy and the viciousness. If you thought “Brazilian D&B” was confined to one particular sound, you'd better brace yourself for some powerful suprises.
* As DJ Andy says himself, “I wanted to show that our songs can be heard everywhere. At festivals, nightclubs, at parties with friends, while travelling and even as a dinner soundtrack.”

The Duo met on a rainy day in Tilburg (NL) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Das brandneue Album des Songwriters, Produzenten, Multi-Instrumentalisten und langjährigem Bon Iver-Mitglieds ist sowohl persönlicher als auch kollaborativer, als er es je hätte vorhersagen können. In den vier Jahren seit seinem letzten Album "Hundred Acres" hat Sean Carey diese 10 Songs in der herausforderndsten und von Veränderungen geprägten Zeit seines Lebens geschrieben. Von der Aufnahme und Reflexion zu Hause in Eau Claire, über die Zusammenarbeit mit den Co-Produzenten Chris Messina und Zach Hanson in einem Studio-Außenposten in Gualala bis hin zu einer unvergesslichen Erleuchtung während eines ruhigen Moments beim Fliegenfischen in Montana - "Break Me Open" zeigt, wie Carey den Schmerz über das Auseinanderbrechen seiner Ehe, das Ableben seines Vaters und das Aufwachsen seiner Kinder verarbeitet, nur um mit einem überwältigenden Gefühl der Dankbarkeit und Großzügigkeit daraus hervorzugehen. Vor dem Hintergrund einer Pandemie erschütterten diese Erfahrungen von Trauer und Verlust S. Carey bis ins Mark und ließen ihn sich fragen, wer er war und wohin er gehen wollte. Doch mit dem Versprechen, präsent und verletzlich zu bleiben, ging er weiter nach vorne, fand heraus, wo die Angst schwelte, und kanalisierte diese Gefühle in die Musik. In den letzten zehn Jahren ist S. CAREY zu einem unverzichtbaren Kollaborateur innerhalb der Bon Iver-Gemeinschaft und darüber hinaus geworden. Er hat an Sufjan Stevens "Carrie & Lowell" mitgewirkt, mit Low und anderen Songs geschrieben und produziert, während er sein eigenes Werk durch Themen wie Natur und Nachhaltigkeit, Jazz-Anklänge und herzliche Lyrik vorantreibt. Auf "Break Me Open" öffnet er nicht nur sich selbst und die intime Inspirationsquelle für die meisten gemeinsam geschriebenen Songs, die er je auf einem Album hatte, sondern er heißt auch mehr Stimmen in seiner Welt willkommen als je zuvor. Bläser-Arrangements von CJ Camerieri (CARM), die Streicher kommen von dem meisterhaften Rob Moose, mit zusätzlicher Unterstützung von Ben Lester, Jeremy Boettcher, Nick Hall, John Raymond, Chris Thomson, Eli Teplin und Talyor Deupree.

Das brandneue Album des Songwriters, Produzenten, Multi-Instrumentalisten und langjährigem Bon Iver-Mitglieds ist sowohl persönlicher als auch kollaborativer, als er es je hätte vorhersagen können. In den vier Jahren seit seinem letzten Album "Hundred Acres" hat Sean Carey diese 10 Songs in der herausforderndsten und von Veränderungen geprägten Zeit seines Lebens geschrieben. Von der Aufnahme und Reflexion zu Hause in Eau Claire, über die Zusammenarbeit mit den Co-Produzenten Chris Messina und Zach Hanson in einem Studio-Außenposten in Gualala bis hin zu einer unvergesslichen Erleuchtung während eines ruhigen Moments beim Fliegenfischen in Montana - "Break Me Open" zeigt, wie Carey den Schmerz über das Auseinanderbrechen seiner Ehe, das Ableben seines Vaters und das Aufwachsen seiner Kinder verarbeitet, nur um mit einem überwältigenden Gefühl der Dankbarkeit und Großzügigkeit daraus hervorzugehen. Vor dem Hintergrund einer Pandemie erschütterten diese Erfahrungen von Trauer und Verlust S. Carey bis ins Mark und ließen ihn sich fragen, wer er war und wohin er gehen wollte. Doch mit dem Versprechen, präsent und verletzlich zu bleiben, ging er weiter nach vorne, fand heraus, wo die Angst schwelte, und kanalisierte diese Gefühle in die Musik. In den letzten zehn Jahren ist S. CAREY zu einem unverzichtbaren Kollaborateur innerhalb der Bon Iver-Gemeinschaft und darüber hinaus geworden. Er hat an Sufjan Stevens "Carrie & Lowell" mitgewirkt, mit Low und anderen Songs geschrieben und produziert, während er sein eigenes Werk durch Themen wie Natur und Nachhaltigkeit, Jazz-Anklänge und herzliche Lyrik vorantreibt. Auf "Break Me Open" öffnet er nicht nur sich selbst und die intime Inspirationsquelle für die meisten gemeinsam geschriebenen Songs, die er je auf einem Album hatte, sondern er heißt auch mehr Stimmen in seiner Welt willkommen als je zuvor. Bläser-Arrangements von CJ Camerieri (CARM), die Streicher kommen von dem meisterhaften Rob Moose, mit zusätzlicher Unterstützung von Ben Lester, Jeremy Boettcher, Nick Hall, John Raymond, Chris Thomson, Eli Teplin und Talyor Deupree.

To avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that?

The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named... Free Jazz.

In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2.

Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Kate Bollinger's songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don't feel likeher own, more like shapes that form in the mind's sky. Bollinger's musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter's knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. Her new EP, Look at it in the Light, her first project on Ghostly International, is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. The title Look at it in the Light is a reference to the aspects of Bollinger's life that she knows need examining. For one, there's her persistent resistance to change _ she chooses to ignore it on the title track ("I try not to notice / I deny my fate"), as wiry strums sync with crisp drums. She surrenders to comfort on "Who Am I But Someone," a light and softly psychedelic number. "Yards / Gardens" finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. The string-backed "Lady in the Darkest Hour" is the set's most luxuriant statement, recorded during a session at Matthew E. White's Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. From the hushed abstractions of "I Found Out" to the biting suspicions of closer "Connecting Dots," Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

‘for you who are the wronged’ is the much
anticipated follow-up to 2018’s ‘from when i wake
the want is’ and her 2014 debut, ‘bones you have
thrown me and blood i’ve spilled’, which won
2015’s Scottish Album Of The Year award.
If ‘from when i wake the want is’ was written for
love to return, this is where she fights tooth and
claw to protect it.
Written and co-produced by Kathryn Joseph, it was
recorded at The Lengths Studio in Fort William,
with producer Lomond Campbell (recording artist
for One Little Independent and has previously
produced King Creosote).
Flesh pink coloured vinyl LP (initial pressing)
includes lyric booklet and digital download code.

Formed in Oxford where they lived, hung out and rehearsed
together on campus, eclectic group Mandrake Handshake
were christened after a song by The Brian Jonestown
Massacre, incorporating their influences of Krautrock, funk,
Japanese animation and Latin pastoral poetry to create a
unique brand of ‘Flowerkraut’ that vividly defines their sound.
 Having initially teamed up with the cult indie label for their
‘Nice Swan Introduces…’ series (in partnership with RIP
Records) late last year, the creative outfit have since found
labelmates in the likes of Courting, SPRINTS and Anorak
Patch, and fast established themselves as one of the most
enticing new acts in the UK psychedelic scene.
 With widespread acclaim arriving via multiple key indie press
titans (NME, NPR, DIY, The Line of Best Fit, Dork, So Young,
Clash, Loud & Quiet, Gigwise), the newcomers certainly
seem to be attracting the right kind of attention following the
release of mesmeric debut effort ‘Mandragora’ and
exhilarating follow-up ‘Gonkulator’, with their first few plays
on BBC Radio 1 (Jack Saunders) already opening them up
to a vast new audience.
 Detailing their EP, the band explained: “‘Shake the Hand
That Feeds You’ represents the culmination of many strands
of thought over the process of several months. It is designed
to announce the coming of the Mandrake in all her forms and
the ascent into her realm; as it soundtracks the listener
coming to know what will be expected of them for all future
sonic explorations.
 “No expense has been spared to bring the listener to the
zenith of psychedelic high-fidelity and have them fully
understand what they otherwise might only hint at knowing.
This is ‘Flowerkraut’. This is the beginning. This is the
Mandrake.”
 Recorded at Press Play Studios in Bermondsey with one of
their heroes - Stereolab’s Andy Ramsay.

On ‘Paint This Town’, Old Crow Medicine Show
offer a riveting glimpse into American mythology
and the wildly colourful characters who populate it.
 Co-produced by OCMS and Matt Ross-Spang, the
album pays homage to everyone from Elvis
Presley to Eudora Welty, while shedding a bright
light on the darker aspects of the country’s legacy.
 Fuelled by Old Crow Medicine Show’s
freewheeling collision of Americana, old-time
music, folk and rock & roll, ‘Paint This Town’ turns
razor-sharp commentary into rapturous singalongs.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

With its saturated sounds, clipped beats and spacey pads, Walk Again opens a portal to a place full of mystery and promise.

Across 11 tracks, John Lord Fonda confirms that he is not only capable of writing techno bombs like We Can’t Breathe and Race For Nothing, but also breakbeat-tinged gems like Little Jazz.

The soaring melodies of Antarctica and Creme bring a dreamlike intensity to the project, while new-wave wannabee Together Again (featuring vocals by Gabriel Afathi of The George Kaplan Conspiracy) enlarges the musical horizon, planting its flag as an evolved piece of techno not afraid to mix genres.

Calmer moments such as Walk Again and A Descent Melody continue our journey into the richest of techno landscapes, where intriguing, fascinating tracks like They Will Fight For You.

Dazzling and cold, brutal and soft, the album marries a fluid, coherent mix of cerebral techno and poetic melodies, both calm and calming.

Walk Again, dance again, live again.

Shaped by the currents of jazz, LaBlue - from his first name Sasha - multi-instrumentalist (drums, piano, bass and guitar) from the conservatory, meets Astrønne in 2019. A singer with a singular voice, she was spotted on the networks thanks to her soul and rnb covers.

A few months later, on the steps of Montmartre, the two young talents began discussing a joint project. Guided by their common love for neo-soul, the 21 year old duo started to produce several albums in 2020 between Rennes and Paris.

They draw their inspiration from the talents that have marked the last decade; Hiatus Kaiyote, D'Angelo, The Internet, Erykah Badu...

Together, they participated in a contest launched by the label Roche Musique during the confinement (March-April 2020) which they won thanks to their track "Keep it Smooth". This new signing will inspire their first 6 track EP "Blue Phases", released in May 2021."

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

LP, 150 copies with screen printed artwork Behind Teahouse Radio is Pär Boström… a Swedish ambient musician, visual artist, label/publishing house owner. Together with his sister (also musical partner in crime) he runs the label/publishing house Hypnagoga Press. Most of his music projects are released on this label. But his work has also already found its way to well known labels such as Cyclic Law and Cryo Chamber. Teahouse Radio is one of the many projects by Pär Boström and most lo-fi and to my ears the most melancholy… and thus fitting Vrystaete very well… In 2018 the debut album (and only album so far) “Her Quiet Garden” was released on CD in an edition of 100 copies on Hypnagoga Press. Here (and below) you have a really nice video on the process of the music and artwork being created… The songs themselves were composed from 2004 onwards with intervals and recorded in a few days during late summer 2016. This 2LP vinyl edition of “Her Quiet Garden” captures the delicate, fragile and minimalist soundscapes very well… and features three additional pieces from the same sessions which were never released before… Expect acoustic instruments that are blended with electronic equipment, forming a sombre ambient music of tinkling tape loops and humming pedal drones… like Gurdjieff meets Eno in some sort of way… And… it is also a very personal album and any listener who sits back and pays true attention will witness and experience this. This is what the musician himself says about the album: An album about summer houses and winter towers, about the changing of weather. How one feeling changes to another. The loss of a loved cat. A real garden becoming an imaginary garden. Depression as a pond. Years of therapy and music as the main counterpoint. About escapism. Psychoses. A giant who walked in and out of the world, decorating it nicely. An aural tale. Half in water, another half in the northern woods. Childhood through nostalgic binoculars. A wardrobe to another place, a gentle knock on the door in the oak tree.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

Memento catalogue number 046 will be the first release of the label for 2022, a solid way to celebrate its sixteenth birthday.

Dj Rocca is a veteran Italian producer whose first releases came out in the late 90s, ad drum&bass and breakbeat cuts under the moniker Maffia Soundsystem, representing the legendary Italian club withe same name.

His four tracks for Memento are dance floor essentials grooves with a fine arrangement and an exquisite sonic flavour. Blending together retro drums and futuristic synth lines, dj Rocca has achieved to bring on vinyl a touch of freshness with a super organic arrangement.
A massive E.P. with brighter moments and darker excursions, bounded by a deep clubbing awareness.

Trojan have pulled together some of reggae's finest moments here, and importantly they come from some of the genre's most vital female talents, who can often be overlooked in favour of their more visible male counterparts. Across four sides of vinyl the likes of Millie Small, Althea & Donna, Marcia Griffiths, Phyllis Dillon, and Susan Cadogan all deservingly feature and personal sleeve notes from musician Rhoda Dakar also add real value. Big hits, unknown rarities and some brilliantly wonky numbers like Sandra Robinson's "Sensi For Sale" make this an instant NEED!

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

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

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

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

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

REMASTERED EDITION OF PORCUPINE TREE'S 1995 RELEASE 'THE SKY MOVES SIDEWAYS - 2LP GATEFOLD SLEEVE'."A dreamy, tranquil and heavily atmospheric effort" - Record Collector 'The Sky Moves Sideways' is the third studio album by Porcupine Tree, first released in February 1995

It's the first Porcupine Tree album to be released in the US (albeit with an altered track list), & the first on which Porcupine Tree was a band rather than simply a pseudonym for Steven Wilson.

Regarded by many fans as one of Porcupine Tree's finest releases & a
cornerstone of any Porcupine Tree collection, the album was recorded partly as a Steven Wilson solo project & partly as a full band album, 'The Sky Moves Sideways' is a diverse experimental rock release spanning space rock & progressive rock styles with long guitar led, instrumental sections.

The album is now being re-printed in a gatefold sleeve & presented with Steven Wilson's sonically superb 2017 remasters first heard in the 'Delerium Years' box set. Disc 1 is the original album as conceived for vinyl. Disc 2 includes an alternative version of the title track containing music that was eventually cut from the original album version, as well as different lyrics. It also contains EP tracks
'Stars Die' & 'Moonloop' (the edit presented here is a hybrid which contains all the music from all the previous versions & runs to 22 minutes).

Porcupine Tree are currently gearing up for the release of their new album 'Closure / Continuation', marking another step forward in the incredible journey of the band that began as a solo studio project created by Steven Wilson in the late eighties to a multi grammy nominated act & one of the world's most revered live bands, selling out arenas across the globe & wowing fans with their incredible
performances. TRANSMISSION PRESENTS 'THE SKY MOVES SIDEWAYS' ON GATEFOLD DOUBLE LP

The Roaring Twenties is hopeful time for peace, a burgeoning economy, with progressive rights for all. A humble group of artists continues to create, share and evolve.

Roaring Twenties offers three mesmerizing rolling bass groove tracks by Deepak Sharma centered around being powerful and effective late-night weapons. Included is a potent, raw remix from Inigo Kennedy.

Side A begins with Roaring Twenties, its looping and hypnotic design will catch dancers immediately as they feel it through unyielding, timely percussive changes. Techno dignitary Inigo Kennedy offers an organic, stripped down and forceful remix that will push dancers through the night.

Side B begins with Lost Generation, its capacious feeling of clutching groove, polyrhythms and texture will instantly grip dancers. 19th Amendment is a juggernaut of strength and power. It's groove intensifies as sinister percussion flows.

Passarani debuts on Aus with his sixth studio album, The Wildlife Of The Quieter Ones. Marco's discography boasts releases on Libertine, Running Back, Peacefrog and Numbers, the diversity between each label show his versatility as as a producer, he’s seamlessly moved with the times and glides through each era with a zesty take on a timeless sound, his credentials speak for themselves and here you see a well seasoned producer at the top of his game

Dukes will arrive on vinyl and on CD in April 2022.The album will be launched at a show on May 7th at Stereo Cafe Bar Glasgow.