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Liz Phair announces ‘Soberish’, her highly-anticipated new album and first collection of original
material in eleven years. Produced by Phair’s longtime collaborator Brad Wood - known for helming
Phair’s seminal albums ‘Exile In Guyville’, ‘Whip-Smart’ and ‘whitechocolatespaceegg’ - ‘Soberish’ is
released via Chrysalis Records.
Almost thirty years since her peerless debut album ‘Exile In Guyville’ was released (voted #56 in
Rolling Stone’s 2020 list of the 500 Greatest albums Of All Time), Phair returns with a new record that
will both intrigue and satisfy her long-standing fans and introduce her to a smart young audience
whose contemporary heroes have been reading from Phair’s playbook since they first picked up a
guitar.
Liz Phair has achieved the kind of status in her industry rarely bestowed on recording artists. Her
albums in the 1990s were central to the indie rock canon of the day. Her image was featured in
countless magazines, early Apple commercials and Gap ads. Her eponymous album for Capitol
Records in 2003 took Phair in a pop direction that ruffled some critics’ feathers but nonetheless went
gold, galvanizing a host of new fans, particularly among young women who fell in love with hits like
‘Why Can’t I’ and ‘Extraordinary’, tracks that were featured in several major films and TV shows,
including 13 Going On 30, Raising Helen and How To Deal. Liz has picked up two Grammy
nominations and a spot in Pitchfork’s Greatest Albums Of The 90s, with over five million record sales
to date (including three US gold albums). She sang ‘God Bless America’ at the opening game of the
Chicago White Sox World Series victory in her hometown in 2005.
‘Soberish’ is a portrait of Phair in the present tense, taking all of the facets of her melodic output over
the years and synthesizing them into a beautiful, perfect whole. She’s at the top of her game in the
recording studio, drawing upon years of experience in television composition to weave through the
songs daring and unexpected sound design. With Brad Wood’s exquisite engineering and masterful
production, the result is a wholly fresh yet satisfyingly familiar sound that challenges on the first listen
and seduces with each subsequent play through. The earworms are strong with this one.
Phair says, “I found my inspiration for ‘Soberish’ by delving into an early era of my music development,
my art school years spent listening to Art Rock and New Wave music non-stop on my Walkman. The
English Beat, The Specials, Madness, R.E.M.s Automatic for the People, Yazoo, The Psychedelic
Furs, Talking Heads, Velvet Underground, Laurie Anderson, and the Cars. The city came alive for me
as a young person, the bands in my headphones lending me the courage to explore.”
None of the arrangements on Soberish are traditional songwriting standards but the hooks are so
catchy, the imagery so compelling, that the listener is drawn effortlessly along with the music. There
are the off-kilter, unexpected guitar chords listeners will recognize as her signature style, a mainstay
from her earliest work; the instantly knowable choruses of her most pop-friendly songs of the early
2000s; the frank lyricism and storytelling that has opened doors for countless women picking up
guitars and attempting to speak about their experiences.
Phair shares insight into the meaning of her title: “‘Soberish’ can be about partying. It can be about
self-delusion. It can be a about chasing that first flush of love or, in fact, any state of mind that allows
you to escape reality for a while and exist on a happier plane. It’s not self-destructive or out of control;
it’s as simple as the cycle of dreaming and waking up. That’s why I chose to symbolize ‘Soberish’ with
a crossroads, with a street sign. It’s best described as a simple pivot of perspective. When you meet
your ‘ish’ self again after a period of sobriety, there’s a deep recognition and emotional relief that
floods you, reminding you that there is more to life, more to reality and to your own soul than you are
consciously aware of. But if you reach for too much of a good thing, or starve yourself with too little,
you’ll lose that critical balance.”

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

In 2013, Anouk was the Netherlands’ representative in the Eurovision Song Contest. The day before competing in the first semi-final, she released Sad Singalong Songs, her eighth album. The album marked a change in sound for Anouk, containing more introspective, symphonic oriented rock ballads. Lead single “Birds” was the song she performed at Eurovision, ultimately placing
9th in the final; the best result for the Netherlands since 1999. The album showcases Anouk’s versatility as an artist. The album reached the number 1 position in the Dutch album charts and already went platinum on its release day. The album also charted in Belgium and Germany.

Now Sad Singalong Songs is released on coloured vinyl for the first time. It is a limited edition of 1000 individually numbered copies on clear vinyl. It is housed in a sleeve containing a printed innersleeve with song lyrics.

Originally released on CD in 2012, Chapter's landmark compilation of 70s gay musical pioneers gets a vinyl release for the first time ever - and on limited baby pink vinyl to boot! Strong Love explores the first wave of openly gay songwriting, emerging after New York's Stonewall Riots kickstarted the modern gay rights movement in 1969. It took just a few years for the defiant chanting and interlocked arms of early 70s pride marches to reverberate onto record, and Strong Love begins with the earliest known example, 1972's A Gay Song by London hippie collective Everyone Involved. Across 15 tracks, the compilation takes in disarmingly personal folk, uplifting soul, outsider country and dark synth-rock. But tellingly, none of its songs could be considered well-known. New York's Steven Grossman released the first major label album by an openly gay artist in 1974, and Tom Robinson hit the UK Top 20 with the fiery Glad To Be Gay in 1978, but these are the exceptions. The coy ambivalence of Lou Reed and David Bowie was about as sexually adventurous as the 1970s music industry got, and most Strong Love artists released their own self-funded recordings in very limited numbers. Unlike their lesbian counterparts, who joined forces to create long-lasting record labels, strong distribution networks and considerable sales figures, gay male musicians in the 1970s existed largely in solitary bubbles. Which doesn't mean they didn't carve out niches of their own. Chris Robison played with the New York Dolls and Elephant's Memory, while LA glam seducer Smokey saw members of the Stooges and Quiet Riot pass through his backing band. Steven Grossman was covered by Twiggy and Scrumbly & Martin are infamous for their work with San Francisco drag hippies the Cockettes. Strong Love illustrate the vision, talent and raw courage that drove 1970s songwriters to sacrifice popular careers for the sake of honesty and selfexpression. Compiled by Chapter Music's Guy Blackman, with an evocative introduction from drummer RIchard Dworkin (who played with Blackberri and Buena Vista), the album is a powerful tribute to pioneering artists whose music has been neglected for too long.

- The complete film music available for the first time on vinyl - 180 Gram "Satanic Rite" Colored Vinyl - Exclusive liner notes by Rob Zombie - 16 Page Booklet featuring unreleased photography - Bonus Black Metal live album by Count Corgan pressed to 180 gram black vinyl with B-Side etching // Waxwork Records is proud to present Rob Zombie's THE LORDS OF SALEM Original Motion Picture Soundtrack. Available for the very first time on vinyl and pressed to 180 gram "Satanic Rite" colored vinyl, the music of THE LORDS OF SALEM features The Velvet Underground, Rick James, Rush, Leviathan the Fleeing Serpent, John 5, and more. THE LORDS OF SALEM is a 2012 American supernatural horror film written, produced, and directed by Rob Zombie. The film stars Sheri Moon Zombie (The Firefly Trilogy), Meg Foster (They Live), Bruce Davison (X-Men), Dee Wallace (E.T., The Hills Have Eyes), and Patricia Quinn (The Rocky Horror Picture Show). The plot focuses on a troubled female disc jockey, Heidi (Sheri Moon Zombie), who is a recovering drug addict living in Salem, Massachusetts. Her life becomes entangled with a coven of ancient Satan-worshipping women after receiving a strange wooden box and listening to the album inside it by a band named "The Lords". The soundtrack features classic songs by The Velvet Underground, Lou Reed, Manfred Mann's Earth Band, and several more. The score features original cues by John 5 and Griffin Boice. In line with other Zombie soundtracks, the album features intermittent dialogue tracks from the movie. Waxwork is thrilled to present the debut vinyl release of THE LORDS OF SALEM as a deluxe album package featuring 180 gram "Satan Rite" colored vinyl (Blood Red and Blue Butterfly effect with White Splatter), exclusive liner notes by Rob Zombie, new and original art by Robert Sammelin, a 12"x12" 16-page booklet including unreleased set photography from Zombie's personal archive, a heavyweight art print, printed inner sleeves, and old-style tip-on gatefold jackets with satin coating. Also included is a bonus black metal album by Count Gorgann entitled Corpse Eater: Satanic Misery Live for the Dead. This bonus album features a 2015 live recording at Black Forest Discothek and is pressed to 180-gram black vinyl with an etched B-Side.

Moonlit Train’ is the debut album from up-and-coming singer-songwriter/ MC Tiawa(pronounced tea-ah-wa) aka Brightonian Tia-Awa Blackhorse.
Meandering between neo-soul, hip-hop and jazz ‘Moonlit Train’ is a conceptual record that journeys through relationships, heartache, and healing. Produced by collaborator and multi-instrumentalist Jack-Chi aka Jack Kingslake -a Bristolveteran who cut his teeth as a producer in the city - the album sets the stage for a new chapter in Tiawa’s career on hometown label Tru Thoughts.
Fusing soulful vocals with the jagged edge of a rap-styled flow, Tiawa lays the foundation for her timeless yet graceful sound and lyrical maturity that confutes her youth. Themes of healing are at the core of Tiawa’s creative output, while simultaneously exploring her Portuguese heritage.
In the artists’ words: “Each song on the album is an emotion. I hope it helps to heal people in serious situations and make them feel better when they listen.
“Saudade” is the introduction to ‘Moonlit Train’ and opens with a Portuguese poem that translates to ‘don’t be sad now, I’m going to play a song for you.”
Described by the artsdesk as “pure trip-hop”, Tiawa has been championed by the likes of legendary DJ David Rodigan (BBC Radio 1Xtra), broadcaster royalty Cerys Matthews (BBC 6Music), and underground purveyors Off Licence Magazine.’ - Previous support Youth (Killing Joke), David Rodigan (BBC 1Xtra), Cerys Matthews (BBC 6Music), Off License Magazine. - Featured on WheelUP’s single “Take Me Higher” and the album “Good Love”.

Tape / Cassette
Canaan Balsam is an electronic composer and musician based in Edinburgh. He uses field recordings, found sounds, hardware and a range of software to create immersive soundscapes. His work explores the dead space between ambient and new age music; the liminal zone between the harshness of industrial and the beatific serenity of devotional music.
Responding to the context where ever-expanding modes of communication seem only to blur the line between connectivity and solitude, Canaan often returns to the theme of loneliness in his work - how it can grow and metasta- size, until it becomes incommunicable, resistant to empathy; an alien host overtaking the body. Cruise Utopia was recorded over the last 3 years and it's his first solo work.
Balsam has collaborated with several contemporary artists including Cosima Cobley Carr and Calvin Z Laing, as well as experimental musician Dan Mutsch, and has performed in an iteration of Damo Suzuki's Sound Carriers. Canaan's sound work has featured at the Radiophrenia Festival at CCA in Glasgow. His audiovisual work has been exhibited at the Embassy Gallery in Edinburgh. He is also part of the Scottish sound art and collective Optic Nerve.

May 28 will see prolific Japanese vibraphonist, multi-percussionist and composer Masayoshi Fujita mark a new sonic direction with his forthcoming album Bird Ambience on Erased Tapes.

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings from the electronic dub under his El Fog alias and experimental improvisations with contemporaries such as Jan Jelinek, Bird Ambience sees him unite all of these different sides to his work for the first time, into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone, on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018), to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effectors and tape recorder.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience also marks his liberation from fastidious preparation for past solo releases to new endeavours in improvisation. “I prioritised trying to capture the wonder which happens during those occasional magic improv moments. Sometimes the mic-ing and placement of instruments was pretty rough; things weren’t perfect and everything was done quickly, but it turned out as the final recording. Overall when I
couldn’t decide between two takes, I told myself to go with the first”, Masayoshi recalls.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

After 13 years in Berlin, Masayoshi recently relocated to a new home and studio in the rural Japanese mountain village of Kami-cho, Hyogo, following his life-long dream of creating music in nature. Even though the album was entirely recorded in Germany before he left, it has this palpable sense of reverie found in the natural world. From there we can only imagine the kind of impact his new life in rural West Japan will have on future works.

Leo Ceccanti should be a familiar name to all followers of the Claremont 56 label. Alongside sometime studio partner Gianluca Salvadori, he was responsible for two delightfully distinctive Almunia albums released on the label, 2011’s New Moon and 2013’s Pulsar. Both sets were filled with golden, sun-kissed sounds, psychedelic grooves and immersive, life-affirming soundscapes.

Now he’s decided to go it alone as Leo Almunia, delivering a debut album for Claremont 56 that’s every bit as alluring, wide-eyed and evocative as those he made with Salvadori. In keeping with his previous work, the album blends layered acoustic and electric guitars with toasty bass, dreamy synthesizers and grooves that variously touch on hypnotic house, chugging mid-tempo disco, sunset-ready Balearic beats and, on the glistening, life-affirming album highlight ‘Wishing Star’, loose-limbed jazz breaks.

What’s most significant about Ceccanti’s personal musical style is not the blend of stylistic influences he draws on – think psychedelic rock, progressive rock, jazz-rock, new age ambient and slow-motion disco – but rather the way he uses it to paint vivid aural images that genuinely linger long in the memory.

After opening with the duelling guitars and chunky dub disco grooves of ‘Sinking Fields’, Ceccanti sashays between magical moments of rush-inducing positivity, heart-tugging poignance and heady nostalgia.

Along the way, you’ll find numerous sonic highlights. On the intoxicating 21st century psychedelia of ‘Panerea’, jangling chords and eyes-closed psych-rock guitar solos ride a chugging, thickset electronic bassline, while ‘Il Cormorano’ is a metronomic, flash-fried workout rich in fuzz-tone guitar motifs, bluesy riffs and echoing instrumental touches.

He cannily joins the dots between Mid-West Americana and throbbing, psychedelic disco-chug on ‘Loveblind’, while ‘Minor Circle’ sits somewhere between Santana, the Pat Metheny Band and sunrise-ready Balearic blues. Arguably even better is the saucer-eyed brilliance of ‘Brillo De Luna’, where a dubbed-out electronic beat becomes enveloped in life-affirming acoustic guitar chords, exotic slide guitar motifs and string-bending solos. If John Lennon had ingested MDMA rather than LSD before writing ‘Across The Universe’, it would probably sound like this.

Then there’s the album’s crowning moment, closer ‘Can’t Hold a Lover’. A heart-aching, largely ambient instrumental that channels the loneliness and anguish felt by many of those separated from their nearest and dearest during the pandemic, it sees Ceccanti brilliantly wrap a variety of sun-bright guitar textures and solos around some of the loveliest synthesizer chords you’re every likely to hear. On an album packed with effervescent, mood-enhancing musical highs, it’s a rare moment of bittersweet bliss.

Miriam Makeba's 'Keep Me In Mind' was her last album for Reprise and reflected major changes in both her own personal life and politically within the USA. After becoming a national star globally following the success of 'Pata Pata' in 1967, she had fallen out publicly with her mentor and 'Big Brother', Harry Belafonte. Makeba made the decision to return to Africa following an invitation from President Sékou Touré of Guinea. In Conakry, Makeba met Stokely Carmichael, President of civil rights organisation the SNCC and they would later marry. "With the Vietnam War, the student protests and the riots in the ghettos, everyone isscared," Makeba said. "Everyone is afraid that there will be a great black uprising." Makeba's concerts were widely cancelled and both her and Carmichael were followed relentlessly by the FBI. Reprise also terminated her contract but brought in producer Lewis Merenstein for her final recording for the label, best known for his work with Van Morrison on 'Astral Weeks'. Merenstein suggested two Van songs for Makeba to cover, 'Brand New Day' from the 'Moondance' sessions and 'I Shall Sing' and further songs were added to reflect both the political climate and Makeba's own memories including Stephen Stills' 'For What It's Worth' and Lennon &McCartney's wistful 'In My Life'. New compositions by Makeba and her daughter Bongi included 'Lumumba', a personal tribute to Congolese independence leader, Patrice Lumumba. Reflective of the times, the album is infused with apalpable despair but, as in all of her music, a quiet determination still shines through.

7” vinyl imprint Alim Music revisits Osunlade’s distinctive versions of Jazzy Jeff’s classic cut ‘Rock Wit U feat. Erro’, with special ’45 edits of both the ‘Yoruba Soul Mix’ and ‘Yoruba Soul Dub’ created specially by Osunlade himself.

Appearing on Jazzy Jeff’s 2002 BBE debut album ‘The Magnificent’, ‘Rock Wit U’ started life as a smooth and soulful R&B cut, featuring sultry vocals from Erro (Eric Roberson). Back in 2001, production hero Osunlade remixed the track, taking this slow jam into dancefloor territory, where it became an underground hit, championed by the likes of Joe Claussell and Masters at Work.

talian pianist, performer and composer Giovanni Di Domenico presents 4 new pieces in collaboration with Eiko Ishibashi, Jim O'Rourke, Joe Talia and Tatsuhisa Yamamoto.

Side A: The Walk (with Eiko Ishibashi: flute, electronics, synth and field recordings) 23:56
Side B: Peach Rino (with Jim O'Rourke: electronics) 25:11
Side C: Manyfold (with Joe Talia: drums) 22:35
Side D: Jaws Of Life (with Tatsuhisa Yamamoto: synth, electronics, sound processing) 22:39

The first ever release of Ed Banger records, this is ED001
To celebrate its 18th anniversary, we're happy to announce a limited edition re-press of this 12''.
I'm not going to repeat the story of how I ended up launching a record label while Napster was scaring the whole music industry…
Now I realize Radar Rider sounds like the perfect soundtrack of a disaster movie, in which record stores are closing, distributors are disappearing, a world without music, without life!
We didn't want this! Of course we'll release music from French producers, newcomers and put all our hearts into this new adventure. By accident Ed Banger records was born, 18 years ago. Mr Flash stopped by the office to play me some his beats. He was the French El-P to me, an MPC 3000 genius! I was blow away immediately, his music was talking to me.
I wanted this sound to be the beginning of something I will create with my friends.

It’s been just over one year since Michael The Lion x Amy Douglas and John Morales’ life-affirming remix 12" hit the airwaves. Released in March of 2020, the music offered a glimmer of light in the darkest of times, but of course, we had to postpone our celebratory dance.

As Summer approaches and our optimism renews, it feels as if just perhaps there is light at the end of the tunnel - just maybe we’ve found a way. In light of seeing & feeling that light, we’re honored to welcome Ron Basejam of Crazy P, Chicago’s own and B.B.E regular, Jamie 3:26, and the Toronto natives, The Patchouli Brothers to Soul Clap Records for ‘Remixed’ by Michael The Lion x Amy Douglas.

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

‘Nurture’ is an album about hope, overcoming despair, faithfully pursuing a sense of purpose, and trying to prove that it’s worthwhile to try.
This album came about during a period of intense creative and emotional struggle. I had structured my life around the expectation that the only thing that made me happy was writing music. But it was exactly that obsession and imbalance that made writing music an impossibility for me for years.
I wanted it too much, was highly self-critical, and I was so scared that I wouldn’t ever be able to write music again. And the more desperate I became to write music, the harder it became.
Only by accepting that I might never be able to do it again, and by embracing and trying to find happiness in aspects of life outside of music, was I able to slowly claw my way into being able to do it again. And on the other side of all this fear and anxiety, I found this life-giving sort of light and beauty. I felt a gratitude towards real life that I used to only feel towards fiction.
I’m really, deeply glad that I wrote this album. It’s my favorite music I’ve ever made, and it made me feel purposeful and happy to write music again. I want to write music that tells people that an earnest and sincere effort to overcome that thing you’re struggling with is the best path forward.
There’s no shortage of fuel for despair and nihilism, but I’ve found that those things don’t help. I want the listener to know that even when it seems impossible and insurmountable, it’s worthwhile to do your best, that there’s no shame in hope, and that purpose and meaning are worth pursuing.

“The Hunt for the Gingerbread Man 2: Get the Dough” embraces the juxtaposition between a fantastical world made of candy and pastries, and the dark and unforgiving lifestyle of the veteran emcee. Sonically immersive, and nostalgic of an era in hip hop that celebrates pain and hardship through whimsical storytelling, this album reaches deep into the life of the protagonist “Mr. Ginjy Breadman” aka “The Gingerbread Man” - and doesn’t let go until you’ve become fully invested in his tumultuous life journey in the “United Cakes of America.”

Thirteen years after the studio release of “The Hunt for the Gingerbread Man,” this sequel album is a testament to MF Grimm’s vivid imagination and innate ability to create stories that transport you beyond our earthly realm. Anthropomorphic cookies, pastries, and gingerbread men are the primary characters in MF Grimm’s tales of violence, crime, drugs, and love, in the ghetto known as “Candyland.”

Perhaps the most compelling aspect of the twenty-one-track album is its unrelenting dedication to both the authenticity of MF Grimm’s infamous life story, and the innocent and irreverent nature of the characters themselves.

The album is produced, mixed, and mastered by Darko the Super.

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Forest Green Vinyl

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

The idea for the album came in summer 2020. At first I only played around on my piano for myself. More and more ideas came up and I started to take recordings. After producing electronic music for more than 20 years and publishing it under different names, the corona pandemic slowed life down. No more gigs, clubs closed, festivals
canceled. For me the chance to try new things and find a new way to make music.

Without the club context, I was free in my mind. Making music right out of myself was a liberating feeling. I could do what had been dormant in me for a long time. There were attempts now and then, but in the end I couldn't get rid of the feeling of always
doing techno. Nice too, but not everything for me.
Many inspirations of my music come from artists such as Nils Frahm, Ólafur Arnalds, Yann Tiersen, Martin Kohlstedt, Poppy Ackroyd and many others, as well as nature, forest and city noises. And often from the instruments themselves.

I switched my setup in the studio from the electronic to a minimalist instrument setup, just piano, double bass and a Moog synthesizer. I also like the background noise that comes from an instrument, like the hammers and dampers on the piano, the fingerboard and bow noises of the double bass. So I tried a lot of recording
techniques and microphones until I found the sound I was looking for.

After a few recordings, a number of pieces came together that went well together. I decided to finish it as an album. Some of them are one-takes with the associated imperfections, others are recorded and arranged layer by layer in the studio. I also used field recordings. A warm summer rain was the starting point for "Rain".
The album will be released in May 2021 as a limited vinyl edition and digitally on my newly founded label "Feldeffekt".

The wisdom of Tony Allen's words was as deep as his grooves, and these two sentences, which announce the dozen songs that follow, truly capture the spirit of There is No End. Tony’s motivating concept and desire was to work with younger artists, and especially the new generation of rappers, and give them voice in a time of global turmoil when music has never been more important – not necessarily as a "weapon" for the future in the manner of Fela's violently political songs, but also as medicine to heal a fractured world today.



For all those who knew him, he was a deeply spiritual man whose life's mission was not just to create a new musical language, but to pass it on to subsequent generations. In thinking back on the incredible process of creating this album without Tony physically present to guide him, producer Vincent Taeger remarked that his friend and mentor "was a teacher without speaking... a drummer and a guardian, with a great artistic vision and that vision filled the songs even after he had left us." Ben Okri, like everyone else involved in this valedictory album, had a very similar experience, declaring in awe that "this man could have lived another 150 years and kept creating new worlds. He had become the master shaman of his art. He knew himself and his mind. He wanted the album to be open to the energies of a new generation... but like a great mathematician or scientist who found a code of for a new world, with just a few beats, he created this extraordinary canvas." Featured artists include Skepta, Sampa The Great, Lava La Rue, Danny Brown, Damon Albarn and many others

Brace! Brace! That record is a bouncing riddim, and we never know where it's gonna land: here noise or miami bass, there dark disco and then Balearic. What could be an easy puzzle for diggers always feels true though. Sincere, like the 14-year-old DJ F16 Falcon, going nuts on some American nu hardcore - the back of the record are actual screenshots testifying of that moment. A life ago, DJ F16 Falcon used to be a part of the noise music scene in Paris, releasing music under the Roger mpr moniker. He dropped the complicated stuff for dance music but kept the industrial touch. We all need some dance. And we all need a Sugar Dada.

For our 7th release we are delighted to be reissuing a single that has brought us a lot of joy in recent times. We first came to hear Delores Fuller’s beautiful single One More Chance Lord in the same way we have heard a lot of new music over the last year and a half – through a friend’s lockdown recommendation. Ever since, the single has been a staple in our collection and permanently on our turntable.Perfectly transcending the genres of gospel, modern soul and disco. One More Chance Lord kicks it off with a piano riff that’ll be stuck in your head for days, building to a soaring chorus with lyrics that would fit any uplifting category. My Greatest Desire on the flip, is a ballad reflecting Delores’ vocal talents. Stripped back with only the piano for accompaniment. Delores singing about values of life - “not searching for riches, not hungry for fame”. Perhaps inadvertently explaining why this single has never had the prominence it so deserves.

The single was originally released in 1983 on Intro Records, a US based label predominately active throughout the 1980s. After a little diggin’ we reached out to Dwain Jones who duly licensed us the both sides and informed us that the single features a truly amazing arrange of musicians. Stanley Banks; bassist on classics albums such as George Benson’s Breezin’, Jonathan DuBose, guitarist with renowned gospel group The Clark Sisters and not to mention Pee Wee Ellis; James Browns band leader in the late 1960s who’s sax can be found peppered throughout Delores’ album God’s Love.Remastered and now available again on the teal green label of Miles Away. Limited 500 pressing and set for release on 21st May. Get one quick!

Raymond Charles Robinson was not just a legend, “the genius”, a “force of nature” and “a presence”. He was also pure energy, the source of a radiant glow that dazzled everyone who ever came near him. His passion for music, women, and rhythm, coupled with his love of life and laughter, were ingredients that made his work a monument of 20th century culture. He left essential traces – in jazz, blues, soul and R&B – because music is something inseparable and Ray lived its rhythms from the inside.

Born in poverty, raised in America’s racist South, blind at seven and an orphan at 15, Ray had all it took to be a success… Those attributes, plus a few titles in his case that he’d recorded for Swing Time, made such an impression on Ahmet Ertegun that he signed Ray to Atlantic in 1952. The next ten years forged the legend of Ray Charles. And now, six decades later, the tracks on this album are still hits hummed by all generations.

HIDE are an electronic duo based in Chicago. The pair create dark and heavy sample - based compositions using a combination of self - sourced field recordings and various pop culture and media references. Their music is textured, minimal, and powerful, giving raw vulnerability an opportunity to unfurl. Their work is honest, confrontational, powerful and thought - provoking.

HIDE's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us,

HIDE gives voice to the power of destruction as a c atalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra - like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body.

"Do Not Bow down" is a self - directed spell for fire and regeneration. “Nightmare” explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track “Interior Terror” belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation . “Fear” answers the question 'Where do cops come from

Divided into two worlds Life? A long narrow path. Anything else? Yes: people and music. That's it, but still. It couldn't get any more narrow than for Ozan Ata Canani.

I've been asking myself all these years: what has he done to deserve that his art is so ignored? The young Ata was a prodigy on the bağlama, the Anatolian long- necked lute. So good that the great Aşik Mahzuni Şerif took him on tour. At that time Ata was just thirteen. Ata's father was suspicious and forbade him to play music.

In the late seventies, the young adult Ata wrote the first song cycle of Anatolian music in German. He wanted to arrive, live in Germany and communicate with the majority society. He wanted to make audible what was going wrong. The lament was only eclipsed by Ata's infectious optimism. His music is a journey that takes its listeners along. He was obviously ahead of his time, because no one wanted to publish these songs. They found no lobby. Not even the utopias of the German counterculture of the sixties did include the so-called guest workers and their art and culture - which is why Ata's parents' generation did not find a connection in the country. Most of them wanted to return home after their work was done. So what was the point of building bridges to the land of the oral cavity surveyors and the screaming foremen? The Anatolian people of Germany had created their own great structure of music dissemination. They were not dependent on the radio and the department stores. They had their own shops, everywhere. Unnoticed by the German music industry and the local media, companies like Türküola in Cologne or Uzelli in Frankfurt turned over millions of records every year. Türküola is the most successful independent label in post-war history. The records and cassettes, later CDs, went over the counters in their own shops, in greengrocers' markets and at electronics hawkers near railway stations.

HIDE are an electronic duo based in Chicago. The pair create dark and heavy sample - based compositions using a combination of self - sourced field recordings and various pop culture and media references. Their music is textured, minimal, and powerful, giving raw vulnerability an opportunity to unfurl. Their work is honest, confrontational, powerful and thought - provoking.

HIDE's third album, Interior Terror further abandons traditional concepts of song structure in favor of splintered rhythms and fevered, immediate release. Expanding on previous themes of autonomy and empowerment, Interior Terror addresses and questions the corporeal and immaterial body in a physical and metaphysical sense. Turning to the dread inside, reflecting on the world around us,

HIDE gives voice to the power of destruction as a c atalyst for hope, and to the collective experiences of those who've come before us as a wellspring of our own power. Raw vocal delivery of mantra - like prose issued forth yields a raging, plaintive wail that lulls, mocks, questions, proclaims and decries. A dearth of collected field recordings give way to more fluid arrangements while retaining a scathing urgency. The result is minimal, spacious, and jarring; a distant knocking grown into the pulse of a hypnotic dirge, drones emerge from shards of decomposed sound, bending, seething their way through your body.

"Do Not Bow down" is a self - directed spell for fire and regeneration. “Nightmare” explodes, unrelenting; conflating time and space to the beat of repeated blows to the head. A reflection on perpetual suffering, generational traumas and the transformative action of release. Title track “Interior Terror” belies a new brand of body horror informed by the systemic enforcement of a contemporary Western gender binary, touching on experiences of dysphoria and disassociation . “Fear” answers the question 'Where do cops come from

New vinyl pressing of Green Day’s 1997 platinum selling album Nimrod. The album features one of the band’s biggest singles in Good Riddance (Time Of Your Life). This pressing comes on black double vinyl with Side D featuring an etching

Born in San Francisco, Rickey Kelly moved to Los Angeles in 1982.

I first heard Rickey on the local Jazz station and that haunting sound on vibes was just too much to resist. He was working at Hughes Aircraft and didn't have time for gigging in the evening. He had to take care of his family which numbered about six children. I began booking his band soon after meeting him. An artist this blessed should not be working a day job I thought. Rickey soon quit his job at Hughes aircraft and began performing full time. Rickey stayed in his apartment for long periods of time just practising. He often mentioned to me that he needed to stay in isolation to keep his music pure. During Rickey's stay in L.A. he had worked with all the great jazz and R @ B bands. Musicians like altoist Bobby Watson, the legendary drummer Billy Higgins, The Jazz Crusaders, pianist Ahmad Jamal, and one of the most popular artists of his generation Marvin Gaye, often called on Rickey to perform with their bands. As great as these artists were, the addition of Rickey Kelly on vibes seemed to make their music better.Because of his isolation Rickey's music has developed a uniqueness and purity of sound that transcends styles. One reviewer described it as a "childlike quality, a profound innocence”. Relax and listen closely. This is music with a purpose

INTERMISSION MUSIC is the soundtrack to An Intermission, an artists film by Edwin Mingard made in collaboration with a group of young people experiencing homelessness in Stoke-on-Trent, England. Like the film, the soundtrack was made collaboratively by the group, working with Edwin and composer Tom Haines.

ALL PROFITS from the soundtrack go to a dedicated fund to support the young people as they take their next steps in life. All partners have worked for free or at cost to make sure this is as much of the cover price as possible.

The film won Jury Special Mention at IDFA, the world's most prestigious documentary festival; was selected for New Contemporaries, and longlisted for the Aesthetica Art Prize. In 2021 it is screening at the London Short Film Festival; Future Now Symposium; and is being exhibited at South London Gallery from May 2021.The soundtrack is being showcased on all these platforms.

The Guardian are releasing the film in 2021. Their documentaries consistently receive tens of thousands of views, and the release of INTERMISSION MUSIC will be highlighted here also.

Collection of unreleased demos of written for the sixth PJ Harvey studio album Uh Huh Her, including demos of ‘The Letter’ and ‘Shame’. Features brand new artwork with previously unseen photos by Maria Mochnacz. Artwork is overseen by Maria with Rob Crane. Mastering by Jason Mitchell at Loud Mastering, under the guidance of longtime PJ Harvey producer Head.

Chronos is the new album by Rostock´s composer Johann Pätzold aka Secret of Elements - a heartfelt, richly visual journey through which the German composer channels personal struggles alongside the social upheavals to which he has dedicated himself as a 'music activist'.

Textextext - (add your write up)

Chronos charts an eventful period during which Pätzold learned to deal with mental illness, travelled to the Mediterranean to save lives during the refugee crisis, fell in love and lost love - ten years is a long time. The album tells of people, moments or phases from the musician's life. It opens with the ominous melodies and immersive choral ambience of 'Grace', which reflects on a friend's suicide attempt, before riding the euphoria of Pätzold's wedding and the birth of his children in 'A Last Waltz.'

Third track 'Memento' narrates the epic journey of a refugee Syrian mother whom Pätzold accompanied from Greece to Germany, its emotive swells and subtle crescendo evoking simultaneously the dawning of a new world and the melancholy of what has been left behind. 'Vinculum', built around an Indian mantra, also dates from the same period and was written as a last tribute to a small child who drowned in the Mediterranean. The piece combines church organ - renown as part of Christian music, and indeed recorded in the Marienkirche in Gnoien on an original 18th century Lütkemüller organ - with a mantra, seeking to unite various religious symbols in an attempt at reconciliation in the face of unimaginable tragedy.

Propelled by mechanical percussion, 'Rage' uses the Shepard scale, a musical phenomenon in which two cyclically rising octaves are played on top of each other in a staggered fashion to create the illusion of an infinitely swelling scale, perfectly mirroring the image of blind spiralling, hysterical anger. When we arrive at 'Aurora, we feel Pätzold musing about the end of the world, but also the end of the self. What remains when humanity is wiped out by a pandemic or something similar? In Johann Pätzold's case, what remains is, among other things, a monumental album, a musical chronicle of his life: Chronos.

JPEG is the 4th album from German legends Digitalism, released on their own label “Magnetism". The Hamburg-based electronic music duo formed in Hamburg in 2004, consisting of Jens “Jence” Moelle and ?smail “Isi” Tüfekçi. Digitalism has released records on labels such as Gerd Jansons Running Back Records, Kitsune, Virgin, Dynamic Records, Boys Noize Records, Astralwerks and PIAS and has throughout the years played all over the world at famous venues, clubs and festivals. They are also highly regarded for their remixes for acts such as Daft Punk ,Depeche Mode, Superorganism, Mø and many more. Digitalism have became synonymous with unique electronic productions, a crossover sound with roots in both indie, techno and pop. Digitalisms music also appears in countless video games and syncs (Recent campaigns Nissan Leaf, past campaigns Vodafone, Fifa, Gran Turismo and many more).

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

ALL THEIR LEGENDARY RECORDINGS, PLUS LOADS OF UNRELEASED STUFF!

“The Lipstick Killers were easily one of the greatest live bands I've witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)

HINDU GODS ARE CALLING YOU!!! Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981.

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

Raised in Corsica, Stephanie made a name for herself as a dj in Paris but more recently focused on producing her own sound. The roots of her musical style are deeply entrenched in Pop, House and Ambient music, all genres that to her reflect our human desire to express our feelings. Her heartfelt debut, AUTEL, released on new label Lake Of Confidence, is an invitation to be fully present in the moment and listen to ourselves with awareness. The track "Disarm" is an uplifting tonic for the soul and could not have come at a more fitting time, encouraging the letting go of fear. Stephanie's grounded voice and the tender tones of the music take us on a liberating journey and reminds us of what is important in life - to move beyond ourselves and embrace joy. The captivating "Unchain" and the Superpitcher remix of the track, are both powerful guides for deep contemplation. Each beat is a metaphor of the breath of life, space and the impressive vastness of this extraordinary mystery we live in.