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Random ReVINYL Edition. Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber's voice joins Stephen's, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of "Druganaut" on the A-side. And the band's currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean's mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song "Druganaut" is included on the CD version of the Black Mountain self-titled record.

Acid Mothers Temple brand new mind-bending psychedelic LP "Holy Black Mountain Side". This limited-edition record features three, brand new, mind-bending psychedelic tracks, including a traditional piece woven into their signature sound, this release is a captivating journey through the realms of the Acid Mothers Temple landscape. Mastered by and featuring Taigen Kawabe of Bo Ningen, these tracks were recorded across 2021 and 2023 at the Acid Mothers Temple, Japan and expertly produced, engineered & mixed by Kawabata Makoto. The sleeve compliments brilliantly the musical voyage with a one-of-a-kind artwork created by the acclaimed artist Kashiwagi Ten, adding a visual dimension to the release. This pressing is on a 180g heavyweight ECO MIX vinyl, which allows for great quality of sound. With no one knowing what their vinyl will look like until it's opened, each one will be as individual as the next.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

For all of his life Berlin based musician Drei Farben House has been thrilled by the artistic concepts of repetition and modifying resemblances. Small but precise and perceptible variations of (musical) themes have been fascinating him throughout his life as a lover of dance-infused Pop. The artistic concept of handwriting has been questioned in the world of fine arts with some justification, but Michael Siegle aka Drei Farben House has remained a strong advocate of this artistic principle which in his view has resulted in so many impressive musical expressions in the history of Soul and Disco --reference points which have been particularly important to Siegle's creative work. The album's sleeve shows the 'Doris and Norman Fisher House' in Hatboro (a suburb of Philadelphia) designed by Louis I. Kahn from 1960-1967. Kahn, based in Philadelphia and one of the most influential architects of the twentieth century, was already in his sixties and progressively getting famous around this time for his sensitive combination of concrete and brick in larger scales. The almost spiritual sensibility of his buildings and his poetry of light created deep, fundamental connections between the spaces and their inhabitants. New Release Information "Every building must have . . . its own soul", this famous quote of Kahn can easily be seen in the modest and wonderfully warm Fisher house which consits of two intersecting cubic volumes created from cedar wood - finished at the same time when only twenty miles away the newly founded Sigma Sound Studio recorded the Delfonics first record, installing the basements of Philadelphia Soul which was later leading to Phillysound, Disco and House.

Magic Mountain is the fourth studio album by American rock band Black Stone Cherry.

The album debuted at No. 22 on the Billboard 200 chart, selling 13,000 copies in the U.S. in its first week of release. It debuted in the United Kingdom at No. 5.

Produced, engineered, and mixed by Joe Barresi (Melvins, Queens of the Stone Age), this 15-song set unabashedly reflects the band’s biggest influences -- Lynyrd Skynyrd, Led Zeppelin, Cream, and Whitesnake
-- but places them in a 21st century post-grunge, hard rock context.

Magic Mountain assembles all of BSC’s strengths cohesively.

From swaggering blues-metal of opener “Holding on... to Letting Go” to closing track “Revolutionize”. Magic Mountain comes close to the kind of excitement Black Stone Cherry generate live, and showcases their most refined songwriting skills.

Magic Mountain is available on vinyl for the first time ever as a limited edition of 1500 individually numbered copies on gold & purple marbled vinyl. It contains no less than 2 bonustracks & has revised artwork.

Remastered 2014, BACK IN STOCK

Erstmals Auf Vinyl: Das Debütalbum Des Synth-pop-trios Gunship Aus 2015. Exzellenter 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde, Mit Einem Feature Von Horror-meister John Carpenter Höchstpersönlich. Exklusiver Bonustrack Ist Der Gunship-remix Für Lionface "no Hope State" (2017), Der Hier Seine Erstveröffentlichung Auf Tonträger Erfährt. Für Fans Von Empire Of The Sun, Mgmt Oder Röyksopp.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

In the far reaches of space, an American pilot named Peter Quill finds himself the object of a manhunt after stealing an orb coveted by the villainous Ronan. In order to evade Ronan, Quill is forced into an uneasy truce with a group of misfits including Gamora, Rocket, Drax the Destroyer, and Groot. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he must rally his ragtag rivals for a last, desperate stand - with the galaxy's fate in the balance. Staring Chris Pratt, Zoe Saldana, John C. Reilly as well as the voices of Vin Diesel and Bradley Cooper.

This deluxe double vinyl edition of the soundtrack to the James Gunn-directed 2014 film Guardians Of The Galaxy includes classic 1970's songs from the movie like Blue Swede's "Hooked on a Feeling," David Bowie's "Moonage Daydream," 10cc's "I'm Not in Love," the Jackson 5's "I Want You Back," Redbone's "Come and Get Your Love," and The Runaways' "Cherry Bomb" plus the film's original score composed by Tyler Bates.

Music plays a major role in Guardians of the Galaxy as the 1970's songs featured in the film are part of the storyline in a unique way. Explaining how the songs come to play in the story, director James Gunn says, "One of the main story points in the movie is that Quill has this compilation tape (Awesome Mix #1) that he got from his mother before she died that she made for him. It was of songs that she loved, all songs from the 1970s, and that's the only thing he has left of his mother and that's the only thing he has left of his home on Earth. He uses that as a connection to his past and to the sadness that he feels of having left all that and lost all that."

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Der Soundtrack zur irischen Komödie ""The Spin"" (2024) in der Regie von Michael Head, der zahlreiche Auszeichnungen bei diversen unabhängigen Filmfestivals von Belfast über Chicago bis Toronto gewann und auch auf dem Filmfest Bremen lief. Die Originalmusik wurde von Mark McCausland (McKowski) komponiert und produziert und enthält Gastbeiträge von: Howe Gelb, Jolie Holland, John Parish, Nick Power, Dave Murphy, Pieta Brown, Dead Goat, Steve Wickham, Gemma Doherty, Laura McFadden, Brenock O’Connor und Drew McConnell. Die LP erscheint auf farbigem Ecomix-Vinyl, bei der jedes Format ein Unikat ist.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

Set sail for the next leg of the journey! Diggers Factory is thrilled to present the One Piece: Into the Grand Line (Soundtrack from the Netflix Series) Deluxe Vinyl Boxset.

Following the Straw Hat Crew as they finally move Into the Grand Line, the soundtrack captures the epic, high-seas energy of the hit series. Composed by the powerhouse duo Sonya Belousova & Giona Ostinelli, the score blends orchestral scale with pirate folk-rock grit, now pressed on stunning colored wax.
Whether you're dodging Baroque Works or looking for a giant whale, this box set is the ultimate treasure for any Straw Hat at heart.
2LP Black Audiophile Vinyl: Two black vinyl representing the fiery spirit of adventure and the deep mysteries of the Grand Line.
Custom Die-Cut Jackets: Two single jackets featuring a central die-cut hole that reveals the beautiful map-work of the inner labels.
16-Page Booklet: A deep dive into the production with exclusive set stills and behind-the-scenes imagery from Season 2.
Double-Sided Poster (20" x 27"): Choose your vibe with the cinematic group shot of the crew or the iconic "Grand Adventure Awaits" sunset art.
6 Exclusive Postcards: Vintage-style travel postcards from legendary stops like Loguetown, Little Garden, and Drum Island.
Sticker Board: A collection of high-quality stickers including Laboon, the Going Merry, and Luffy's legendary $30,000,000 Wanted Poster.
Collector's Box: All contents are housed in a premium, wooden-textured outer box.
Netflix's epic high-seas pirate adventure, ONE PIECE, returns for Season 2-unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line-a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world's greatest treasure, they'll encounter bizarre islands and a host of formidable new enemies.

This is the debut release from Laguna Seca, a new project from Porto based Mike Jefford. It foreshadows a new body of work, steeped in 70s nostalgia, refracted though sounds that could belong to krautrock, disco, electronica, noisy alt rock and everything in between. Mike has previously recorded as Positive Centre releasing textural, experimental techno on such labels as Stroboscopic Artefacts, SNTS and Leyla. (seek out if you you’re a fan of Vatican Shadow or the ghostlier wing of Black Dog)

After mastering his forthcoming 2026 debut album ‘O Tempo’, Mike Jefford caught a second wind of inspiration. In just seven frantic days he recorded the heap of tracks that formed the basis of 'Live from Müsli Mountain’. It soon became clear that these tracks foreshadowed the album perfectly and the EP was born.

Named after the California raceway, this project fuses 1970s recording techniques, modern electronics and psychedelic retrofuturism, it’s a pyramid of sonic adventure that will be explored deeper on the album next year.

Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

This plate is about to welcome back one of the unsung heroes from the 45 Seven lands of dub, meditating with us from day one. Weather it may be about 4578's foundations of the rolling Dub Over Distance along the shuffly Dub Pacifico or the later forward lurking tribal jungles of Black Lake flipped by Lack Blake on 45719: Dub Across Borders always knows to amaze with both a contemplating deep inner focus of well laid-out hand-made instrumentation and vintage dubbing as well as refreshing ear-opening sounds and soul-pleasing vibes collected from all over the world, creating a very own sphere of what feels like some kind of ancient sci-fi riddim, rooting upwards to the phuture.

When sweating over a hot mixing desk and hoping for a fresh breeze, the roots of Come Rain were laid in a form of bassdrums knocking at the sky's gates, stabby infra subs foreseeing well-wished thunders and moist dark skank works are calling for storm. An inner shout for the elements, incarnating in a certainly minimal yet pretty heavy 160 stepper, rolling over all the dry hot air out there.

Yeh Sih Dub comes after the rain: new branches grow, fresh leaves spread, foggy clouds reach up for a mountain-high rainforest. Awakening the world bass side of Dub Across Borders, it gives you ceremonial Bhuddist horns as well as houting sounds of the tantric Khamak, a poundy stab bass and the shimmering spring-splashing ride sitting on top as its crown. Only rarely 80 bpm bass has been as easily touching and moving at the same time.

Take a deep breath and dive into this piece of both mindful and reflective space bass, launching sub-heavy Jungle onto imaginery moons of spacial perception. We are actually just about to start this journey, feel free to get aboard!

"Absolute gold, thanks a bunch" Will be supporting lots" Pugilist
"Epic Dub pressure, big fan of Dub Across Borders" Sun People
"Sounding great as usual, will play for sure!" Tracy & E3 of Zamzam

Als Beck 1994 mit seinem offziellen Debütalbum „Mellow Gold“ auf den Markt kam, gerade als Alternative
Rock zum Mainstream wurde, übertraf er schnell alle Erwartungen, als „Loser“ sich von einer abgelehnten
Demo zu einem allgegenwärtigen Hit entwickelte. „Loser“ zeigte Becks unkonventionellen Ansatz beim
Songwriting und festigte seinen Status und seine innovative Stimme in der alternativen Musik. Der Song
enthält ein Sample aus „I Walk on Guilded Splinters“ von Dr. John.
Mellow Gold wurde von Beck, Tom Rothrock, Rob Schnapf und Karl Stephenson produziert und von Tom
Rothrock und Rob Schnapf gemischt.
Nun erhältlich auf einer 180g schwarzen Vinyl.

“Less than a month after one of the most violent fire events in the history of the continent, new shoots had burst through the scorched hardpan, nourished by the still-vital roots of those flayed and blackened trees.” John Vaillant, Fire Weather.

Loscil (aka Scott Morgan) returns to kranky with Lake Fire, a nine-track offering of ash-laden sonics that mine the tension within the cycle of destruction and rejuvenation.

Lake Fire is the result of a disjointed creative process. Originally conceived as a suite for electronics and ensemble, most of the original compositions were deserted, save for Ash Clouds, featuring James Meager on double bass. The remaining tracks were reshaped and remixed, built anew out of the remnants of the abandoned work. The result is a phoenix, an album burnt to the ground only to be reassembled out of its cinders. Fragments of the original lurk beneath a densely overpainted canvas of sound.

Infused into the resulting rearrangements are impressions from a road trip into the mountains marking a personal half-century milestone, surrounded by the ominous proximity of wildfires and dense smoke; celebrating life while the world burns. The album’s title comes from the striking irony that forest fires are often named after regional lakes - perhaps subconsciously referencing ancient lore. The cover photos were taken from this same trip, while sitting in a rowboat staring into the grey abyss of an opposing mountainside outside of Revelstoke, BC, obfuscated by smoke from a nearby lake fire.

Press quotes for previous solo release “Clara”:

"The sound sculptor Scott Morgan continues to astound.” Pop Matters

"A beautifully nuanced work, Clara is both revealing and mysterious -- and loscil fans wouldn't expect anything less.” Allmusic

press quotes for previous collaboration release with Lawrence English “Colours of Air”:

"As you might expect from the steady hands at the tiller, this is a cortex-hugging drone record of beauty and depth.” The Quietus

"One of the thrills of listening to this record is how its initially predictable veneer fades on subsequent listens to reveal layers of mischief underneath.” Resident Advisor

(repress on black vinyl, originally released in 2019) Supported by many deejays worldwide, most notably Solomun. Moodfamily's favourite four-piece returns home after many journeys. Impatient as we are, we had to hear their stories. Skilfully combining influences, sounds and experiences from east and west, they translated their stories into a new EP oozing with drama, melancholy and determination. The EP describes itself as the soundtrack for an adventure to mysterious outskirts around the globe, starting with 'Whale Parade'.



This prelude takes you to a hidden land after wandering through forests for many months. Guitar, piano and percussion gently move in and carry you away. By the second track, 'All Day I Zama', a slow beat dictated by a banket of percussion evolves to a vigorous and groovy track with moaning vocals as the main theme. In title track 'Gold Town' you will settle yourself in a covered wagon, heading for dodgy settlements on a misty mountain range, accompanied by a grieving trumpet. As the wagon slows to a crawl, 'Ghajar' emerges; a downtempo emotion-filled song, where the piano and a scorching synth interchange melodies and tales.

Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively

Hardcover Book which includes a 208-page book documenting Louisville's rich Black Gospel music legacy and access to a comprehensive digital archive.

In the mid-20th century, Louisville gospel music was occasionally recorded when members of the local gospel community pressed 45rpm records and LPs, and released them through grassroots record labels such as Sensational Sounds, Grace, Blessed, and D.J.S. Over the years, a substantial body of work was produced in our city, but those recordings are in danger of being lost forever.

The Louisville Story Program has been working with dozens of people in the local gospel music community to locate, digitize, and preserve hundreds of these recordings and to develop a book that documents and honors the legacies of the people and communities that produced them.

For decades, the passion, hard work, and support of countless people across dozens of Black church communities in Louisville have nurtured and sustained a rich gospel music ecosystem. This music has served as a central part of people's religious practice and as an expression of Black pride, joy, affirmation, love, dignity, determination, and hope. This legacy continues to this day.

With support from The Owsley Brown II Family Foundation and Owsley Brown III Philanthropic Foundation, LSP has partnered with members of the gospel community and a local advisory group of local gospel historians and luminaries:

To locate, clean, and digitize gospel records of local artists released by small local labels
To accompany the local Black gospel music community in developing a 4 CD box set that includes a 200+ page hardcover book with first-person documentation of their rich history
To create an accompanying double LP featuring 26 of those songs
To create and maintain a public-facing digital archive of 1,000 songs and 1,000 photographs
To celebrate the final release with a large concert at the Brown Theatre (September 28, 2024)

Kolida Babo is the collaboration between two Greek woodwind musicians from separate regions - Socratis Votskos is from Pella, and Harris P. is from Athens. Their self-titled debut album was recorded in improvised live-take sessions beginning on the night of the “Kolida Babo” folk rituals of music and dance in northern Greece in winter 2013. They explore the ancient music of Armenia and the folk traditions of northern Greece’s Epirus and Thrace regions alongside abstract electronics and free jazz.

Their debut album was released by MIC Records (London) in 2019 to rave reviews. Other notable releases include the Jazzman Records jazz45 series and the soundtrack for the documentary ''Gospel of Michiel'' and "Loxy". Their music was supported by BBC 6Music, BBC Radio 3 - Late Junction, NTS, Soho Radio, WorldWide Fm as well as the Greek National Radio. Last but not least, they have performed in various places around Greece and Europe including festivals like CTM, Archipelago Festival and Vinterjazz Festival.

In their second full-length album Spirits of Mauronoros set to be released in 27/09/2024 by Veego Records, Kolida Babo revisit an old forgotten place in northern Epirus Greece, near the Greek-Albanian borders.

A spiritual music journey dedicated to the old village of Mauronoros (Black Mountain) and its people. This village is one of the many villages in Greece that is totally abandoned as a result of the economic crises and cultural changes that Greece faced in the last century. This profound depopulation of the area left behind ruins that echo its past trials and tribulations. However the traditional sounds of the village keep reappearing in urban centers like ghosts that haunt everyday life. This sonic dialogue between "modern" and "traditional", between "the peaceful countryside" and " turbulent urban centers" sometimes looks irrelevant and outdated but is of great consequence. It transports the listener in an unspecified time and place devoid of any cultural and geopolitical connotations and thus leaves them wondering for a freer and more authentic way of life.

We’re hugely excited to announce the brand new album from Dee C. Lee - ‘Just Something’, out 22 March on Acid Jazz. It follows the incredible response to the new single ‘Walk Away’ and last year’s double-sider ‘Don’t Forget About Love’ / ‘Be There In The Morning’, marking the return of one of the UK’s most revered soul singers. Dee is known for her work with The Style Council, Wham!, Slam Slam and Animal Nightlife, and an illustrious solo career (including the Top 3 hit ‘See The Day’). ‘Just Something’ is her first new record since 1998, and her debut for Acid Jazz. Available on LP and CD, all pre-orders from the Acid Jazz Store will be signed by Dee.

‘Just Something’ features 11 songs: nine originals co-written by Dee, a song penned by her daughter Leah Weller, a successful singer/songwriter in her own right, and two inspired covers. Produced by Sir Tristan Longworth, the album is a soulful collection that frames her instantly recognisable vocals in luxurious horns, percussion and keys, and heritage soul with a disco backdrop. While making the record has been a collaborative process, ‘Just Something’ is nevertheless the sound of a singer in charge of her own style and direction. Her vocal delivery and phrasing steal the show throughout, bright and lilting one moment, passionate and ringing the next. She cites Chaka Khan and Jean Carn as major influences, but Lee’s voice is resolutely her own, the product of a life lived.

Inspired by classic Motown, current single ‘Walk Away’ was written by Dee with one of her ‘brothers from another mother’, former fellow Style Council member Mick Talbot, and features Talbot’s distinctive piano and Wulitzer playing on the track. Talbot also plays on another of the album’s many standouts, the Leah Weller-penned ‘Everyday Summer’.

Three of the album’s songs, opener ‘Back In Time’, first single ‘Don’t Forget About Love’ and ‘How To Love’ were co-written with Michael McEvoy and Ernest McKone, whom Dee wrote with back in the 1980s. All three songs channel her musical past, from the thrill and excitement of those early Wham! days, going out and partying, to The Style Council’s trademark jazzy soul, and expressive balladry and killer choruses, which places Lee in the lineage of classic soul singers.

Elsewhere, on ‘Anything’, co-written with Paul Barry, Dee sings her heart out on a song full of optimism and hope for the future, while ‘For Once In My Life’, the oldest song here dates back to 1998, is effortlessly commercial and has hit written all over it, with Lee empowered and regal sounding over a warm blanket of bassy funk.

The album’s two covers, meanwhile, were both suggested to Lee by Acid Jazz’s Eddie Piller. In Lee’s hands, Renee Geyer’s ‘Be There In The Morning’ is pure celebration, taking its cue from the Norman Connors version from 1979. ‘I Love You’, written by Don Blackman and recorded by Weldon Irvine in 1976, could have been written with Lee in mind. A big club tune, Dee recalls hearing it everywhere she went and I wanted to keep as close to the original vibe as she could.

Dee’s relationship with Acid Jazz the goes back to The Style Council days, and it was the 2019 documentary ‘Long Hot Summers’ that renewed Dee’s friendship with label founder Ed Piller and director Dean Rudland. We’re honoured to release this record and be a part of Dee’s return to the forefront of UK soul music.

Five years after their radiant debut Ufo Bar, Italian cinematic funksters Banda Maje are back with Costa Sud to take us deeper into their land of ‘Salifornia’—a Southern province of sun-drenched coastlines and decaying buildings where dreams of exotic escapism sprout and bloom.

Once again, behind the eight tracks in the album—and behind the wheel of the fiery red Alfasud on the cover—is composer and keyboardist Peppe Maiellano. He has meticulously tailored each piece to his virtuoso partners in crime: a 'family' of exuberant musicians spread between Salerno and Naples, all bound by deep-rooted ties to the region and a shared belief in the grit of independent artistry.

The Costa Sud (South Coast) imagined by Banda Maje is a shimmering ribbon of sun-baked asphalt stretched between the sea and the ancient pine forests of the Gulf of Salerno. It is a land of enchanting but wounded places, where the grace of Ancient Greek civilization sits in a restless silence alongside the scars of rampant building and neglect. “But if truth is beauty and beauty is truth,” Maiellano explains, inverting Keats’s famous line, “with the right eyes, you can find beauty and poetry even under a layer of moral and material filth."

Conceived and recorded entirely in the South, the album nevertheless looks beyond the horizon. While Neapolitan funk and golden-age Italian soundtracks remain the double helix of the band's DNA, this album welcomes new influences from across the ocean, weaving Italy, Brazil, Africa, and contemporary sounds into its unique vision of the 'global South.'

Side A is an immersion into Salifornian territory and its myths: from the carefree instrumental disco-funk of the title track, which sublimates local contradictions into enveloping cinematic atmospheres, to the mellow groove of “Baia”—a fusion of Neapolitan funk, afrobeat, and disco that pays homage to Salerno’s famous beach, squeezed between millennia-old sea rocks and mountains of shipping containers. The band’s heartfelt sense of belonging shines in their fresh soul-disco version of “Mo…” (a 1981 cult classic by Neapolitan legend Peppino di Capri) featuring Maiellano’s own vocals, while the reimagining of Tonico 70's “Jet Lag” celebrates a fraternal partnership with the Salerno-based rapper/producer, charting a musical itinerary that unites Brazil, the States, and Salifornia through evocative grooves, sharp synths, and Gianfranco Campagnoli’s exquisite trumpet.

On Side B, the sound becomes even more eclectic with the samba-funk warmth of “Samba Maje”, where Mediterranean melodies and lush vocal harmonies marry jazz-funk arrangements and disco-inflected Brazilian rhythms. The next track, “Africana”, is dedicated to a legendary dolce vita nightclub on the Amalfi Coast (and its founder Luca Milano); here, a rhythmic mantra incorporating tribal African elements blends with synths that evoke RAI television themes of the late 70s. The journey concludes under the sign of the silver screen: the disco-funk elegance of “Black Glamour Girl” (from the early-80s road-trip comedy In viaggio con papà), a tribute to the compositional genius of Piero Piccioni, and “Lovebossa”—an easy-listening homage to the "Cine Bossa" atmospheres that characterized so many Italian soundtracks of the 60s and 70s, finally carrying the listener ‘ncopp’ ‘e nuvole (above the clouds—which is basically Salifornian for "somewhere over the rainbow").

Available on LP and Digital from 15 May 2026.

The Fiddle and the Drum brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music. Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming's voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton. Through mountain songs, haunting ballads, and folk hymns, The Fiddle and the Drum honors the roots and emotional power of Appalachia, just in time for America’s 250th anniversary.

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”

Time To Get On Board A New Black Universal Express.

With each new recording Anthony Joseph presents an imaginative, personal vision of contemporary black culture, and The Ark is yet another compelling album by the award-winning Trinidadian poet and musician. This second part of a sequence of two albums launched with last year’s Rowing Up River To Get Our Names Back, finds Joseph giving full vent to his desire to explore many thought-provoking themes. However, there is a specific thread running through the glorious offering of sounds.

”I was especially interested in the idea of using Afrofuturism as a means of using the future in order to correct the wrongs of the past,” explains Joseph. “And so a lot of lyrics reimage or imagine an alternate black history. At the same time there are elements of autobiography.” The aforesaid cultural phenomenon, a view of the black experience through the prism of science fiction and ancient Egypt and Africa, as mapped out by visionaries from music and literature such as Sun Ra, Parliament-Funkadelic and Octavia E. Butler, has previously inspired Joseph. His 2006 novel The African Origins Of UFOs was a multi-hued work, and the new music shows how Joseph

has, much like all significant artists, gone on to broaden his conceptual palette, creating beguiling new stories and images set to startling rhythms and tones. Tracks such as ‘James’, with its taut, crisp bass and dubbed-up brass, and ‘Transposition Of Space (Glissant)’, a potent evocation of the influential Martiniquan theorist set in a haze of jazz guitar and ambient synthesizers, are marvels of text-sound painting.

As for ‘Baron Samedi’, shaped by a languid, almost wounded guitar line and slow rise of horns that frame Joseph’s journey to the ‘mountain of fire, almost touching the sky’ it is an epic blend of commanding vocal delivery and dramatic sonic tapestry.

Joseph led the Spasm band in the early 2000s and recorded well-received albums such as Bird Head Son and Time, in which songs were largely based on spirituals or chants enhanced by improvisation. But his musical curiosity has naturally led to collaborations, and the new work is produced by Dave Okumu, the prodigiously talented guitarist-vocalist-composer known as the leader of Mercury Music Prize-nominated The Invisible, and who was also a member of the seminal band Jade Fox.

Having first performed together at a show curated by influential saxophonist-flautist Shabaka Hutchings at the storied Total Refreshment Centre In London during lockdown, Joseph and Okumu struck up a rapport that further developed when the former guested on he latter’s album. With the connection made Joseph knew Okumu was the ideal producer for this latest project, which has a freewheeling, almost black psychedelic thing. After sifting through demos and loops the guitarist made on pro-tools the poet started to live with the music. Many months later words began to take shape. Joseph then went into the studio with Okumu’s band and set about creating a magnum opus. Boasting a stellar cast such as vocalist Eska Mtungwazi, trumpeter Byron Wallen and keyboardist Nick Ramm, The Ark is a highly intricate musical mosaic framed by simmering funk grooves, wily jazz improvisation and haunting dub effects. Through the use of many genres the music has simply become its own genre.

The Ark can be perceived as a vessel or means of transport to new worlds, along the lines of Sun Ra’s Ark or Funkadelic’s Mothership, and the material it contains is a unique blend of who Anthony Joseph is and how he sees the world and society in these stimulating, challenging times. “It balances the personal with the universal in a much more vulnerable, accessible way than on previous albums,” Joseph explains.

“It has become less about a personal experience and more about a collective, communal experience in which the artist is conduit, messenger, urban griot.”

DYING VICTIMS PRODUCTIONS is proud to present the striking debut EP of Spain’s FABLE, Long Hath the Night Dwelt, on CD and 12” vinyl formats. FABLE started as a solo-project by Jose Soler (Phantom Spell, Chantrice) influenced by ‘70s and ‘80s hard rock and heavy metal – a list as varied and idiosyncratic as Thin Lizzy, Whitesnake, Pagan Altar, Ashbury, and Hällas – along with hints of old US metal. Duly girded, the band bring forth their public debut, Long Hath the Night Dwelt. An actually-narrated prelude sets the stage for a cautionary tale about class struggle and revolution, FABLE indeed using fables and stories as a medium to tell an expansive story of the woodsfolk dominated under the iron claw of “The Owl.” Despite that, the band’s debut EP is exceptionally compact at five tracks in 22 minutes, moving with a simmering patience that’s heavy on mood and dynamic in its restraint. Never overdriven nor busy, warm and intimate but with a psychic distance that seems impossibly ancient, FABLE very much evoke the perhaps-centuries-old folklore that seems so central to their rustic rock; the wise-sage vocals almost seem an afterthought when the narrative flow of the music starts winding and wending like smoke from a tavern fireplace, so illustrative is its hushed power. However, each element here is equally important, and all work together to form a totality that’s unfussy but hewn with class and care. And this is just the start of this FABLE: discover for yourself how Long Hath the Night Dwelt!

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Every mother has a unique story. One thing is true for every mother, though: There’s no deadline quite like a pregnancy.

Award-winning Toronto singer-songwriter Abigail Lapell was pregnant with her first child when she booked studio time on Vancouver Island to make an album about motherhood. The nine songs on Shadow Child — one for each month of gestation — had to be ready before then, and her return flight was booked on the last day she could safely fly in her third trimester.

Working with producer Colin Stewart (Dan Mangan, Black Mountain), Lapell finished her songs in the studio and on rural walks beside the Pacific Ocean. She enlisted some of her favourite singers, all British Columbians, all mothers: Frazey Ford, Jill Barber, Pharis Romero. “They’re all people with unique, distinctive voices,” she says, “which is what I’m drawn to.”

Musically, Lapell was looking for a stark, acoustic sound, as opposed to 2024’s Juno Award-nominated Anniversary (recorded in Niagara with Great Lake Swimmers’ Tony Dekker) and 2022’s acclaimed Stolen Time (recorded in Montreal with Howard Bilerman, featuring E Street Band saxophonist Jake Clemons).

Lapell’s road to motherhood was fraught, involving years of IVF and a 2023 miscarriage — that she experienced on stage while on tour. (She finished her set.) Her son was born in November 2024. The song cycle of Shadow Child covers joy and loss, using metaphors from Maritime tragedy, “little cannibals,” reproductive health, acquiring language, and lives altered by the arrival of a newborn. The title track refers to ultrasound imaging of “a liminal person that doesn’t quite exist yet,” says Lapell. “Their status is ontologically blurry.”