Cerca:abs

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.

‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.

Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.

Mastered by Colin Potter (Nurse With Wound)

Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.

Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".

Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”

Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”

Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.

We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.

The label Control Room presents it's first vinyl only release "Mind Travelers EP" in which the three artists have teamed up to create an abstract story for your ears.

Farewell covers a lot of ground across the span of its 26 songs and two-hour run time. Yet every moment is a reminder of why Minus the Bear were such an experiential live band. They were always pushing forward, evolving their sound, and finding new ways to balance brainy musicianship, pop worship, meditative sentimentality, and adrenalized fervor into their own signature concoction. Further bolstered by the mix of Matt Bayles and master job by Ed Brooks at Resonant Mastering, the album sounds like a fully immersive live experience. + RECORDED DURING MINUS THE BEAR'S 2018 FAREWELL TOUR + 2021 MARKS THE 20TH ANNIVERSARY OF THE FORMATION OF MINUS THE BEAR + MIXED BY MATT BAYLES (SOUNDGARDEN, PEARL JAM, MASTODON, THE SWORD) + MASTERED BY ED BROOKS AT RESONANT MASTERING (R.E.M., DEATH CAB FOR CUTIE, FLEET FOXES) + FIRST AND ONLY OFFICIAL LIVE RELEASE FROM MINUS THE BEAR + RETAIL EXCLUSIVE VARIANT ON CUSTOM OPAQUE GREY VINYL LIMITED TO 1,900 COPIES + 3xLP PACKAGE COMES IN TRIPLE GATEFOLD SLEEVE WITH SPOT INKS + 3xLP PACkAGE INCLUDES PRINTED INNER SLEEVES WITH METALLIC SPOT INKS + 3xLP INCLUDES A DOWNLOAD COUPON

When hearing Anna Gréta at the piano, you become witness to an
astonishingly mature artist, with absolutely profound technique, a
complex understanding of style and harmony and an impressively
wide range of musical expression, who has made an extraordinarily
good name for herself in just a few years on the Scandinavian scene.
Over a period of two years, partly influenced by isolation, the twelve
compositions of ‘Nightjar in the Northern Sky’ emerged, for Anna
Gréta not only as a pianist but also as a singer.
 The album title ‘Nightjar in the Northern Sky’ sets the tone for the
world of the album: A metaphor for the Scandinavian expanse,
tranquility and the close connection between people and nature, a
theme that runs through the songs in many pictures. “Nature is just an
enormous force in life. It is so much bigger than most of the other
things that otherwise seem so significant to us. And it is, in its infinite
facets, perhaps the greatest inspiration for my music. A place where
the noise falls silent and you can feel and hear yourself again,” before
adding: “Recently I have been developing a passion for bird-watching
- something that I reflect on in the title track. When you observe
nature carefully you can experience or see something unique. Sort of
like searching for love. The nightjar is a bird that is rarely seen flying
across the sky in Sweden and has been observed in Iceland less than
five times. I feel that everyone is looking for something unique in their
lives. And that nature can offer that to the ones open to see it.”
 With each of the tracks on the album she creates little, self-contained
worlds that fit into a bigger picture. Light-footed, relaxed, reduced,
concentrated. An art that required a great deal of work and attention
to detail. Together with pop-experienced producer Albert
Finnbogason, Anna Gréta chose the perfect, hand-picked line-up and
sound for each of her extraordinarily refined - harmoniously and
rhythmically - compositions.
 Although always in a coherent framework, Anna took elements from a
very diverse range of musical styles, alternating between jazz
elements and influences from pop music to excerpts from classical
and folk. All these elements create a remarkably multi-layered album,
which at the same time tells a coherent, bigger story.
 CD in 4-page digipack with 12-page booklet.
 180g vinyl with digital download code

To celebrate Billy Preston’s induction into the Rock & Roll Hall of Fame in October 2021 Apple Records and Universal Music Catalogue will be making Billy’s highly regarded 1970 album ‘Encouraging Words’ available on vinyl for a limited period. First released in the UK on 11 September 1970 the album was co-produced by Billy and George Harrison, with two of George’s songs – ‘All Things Must Pass’ and ‘My Sweet Lord’ – issued here for the first time, two months before his own recordings appeared on the triple album ‘All Things Must Pass’.In 2010 Record Collector magazine described ‘Encouraging Words’ as “one of the finest titles in the Apple Records catalogue”, while virtuoso keyboard player Rick Wakeman told BBC Radio 4’s John Wilson he considered Preston’s two Apple albums “absolute gems – a perfect combination of gospel and funk.” The album was last released on vinyl in 1992. The original album credits did not include details of contributing musicians, though the sleeve notes of the 2010 CD reissue included Eric Clapton, Klaus Voormann, Ringo Starr, Bobby Keys and the Edwin Hawkins Singers.

'After 20 years of absence THE THE celebrated their comeback with a glorious UK and US Tour in 2018, topped by a sold-out performance at the Royal Albert Hall in London, the so called “Comeback Special”. What started as an unforgettable live experience now turns into something even bigger as THE THE announce their new live album and make the whole comeback experience available to fans worldwide. Available as 2CD Digipak, 2CD Mediabook, 3LP Black Vinyl, Limited 3LP Crystal Clear Vinyl, Blu-ray, and DVD formats.LIMITED NUMBERS. ALLOCATION SHARED OUT WHEN ALL ORDERS IN AT 12PM DEADLINE.

International power duo Dasom Baek (traditional Korean flutes) and Violeta García (cello) present their debut album. is the sound of two leading composers and improvisers pushing their instruments to the technical and creative limit, then beyond into places unnavigated, futuristic and often haunting.

Dasom and Violeta tussle with playful and at times brutal mastery between passages of sparse melody, acrobatic percussion and harmonic drift, while interjecting voices fracture and reassemble into intimate, improbable forms. It is hard to imagine an album more abundant in ideas and motifs, all atomised as soon as they are brought to life. The effect is a tapestry of rugged spirits - moving, and at times just plain beautiful.

Recommended for fans of Okkyung Lee, John Butcher, Messiaen, or Ernst Reijseger.

Dasom Baek is a composer, improviser and performer of traditional Korean instruments, mainly Daegeum, Sogeum. Dasom pursues ground-breaking and modern music rooted in traditional Korean instrumental performance. She is a Certified Master of Important Intangible Cultural Asset, no.45. She has achieved Bachelor's and Master's degrees from the Korea National University of Arts, and is currently undertaking a PhD course at Seoul National University. She has also represented Korea at the International Flute Festival. In 2019 she was selected as a fellow for the OMI Music residency in New York, collaborating with various genres of musicians from different countries. In 2020, she released her debut album, titled . In 2021 she was selected as a showcase artist at SXSW Festival.

Violeta García is a cellist, improviser and composer born in 1990 in San Nicolás de los Arroyos, Buenos Aires, Argentina. She studied at the Conservatory Astor Piazolla, and holds a degree in Composition from the Conservatory Manuel de Falla, with Ricardo Capellano. She also has a degree in Musical Arts, specialising in violoncello, from the Universidad Nacional of Arts (U.N.A).

In the afterglow of her acclaimed 2020 album Silver Ladders, Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015- 2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore's archives together for the first time. Lattimore has described the process of arranging these releases as akin to "opening a box filled with memories," and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. Opening the cassette version is "Mary, You Were Wrong," which mirrors an author's bout with a broken heart. "It's about how you have to keep on going even if you make some mistakes," she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. Unreleased track "Sleeping Deer" came together during Lattimore's artist residency on a cattle ranch in Wyoming. She remembers, "a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out." Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation. Next is a newer single, "We Wave From Our Boats," which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. "I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you're compelled to wave at people on the other boat when you're on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural." The heart of the track is a somber loop, over top which Lattimore's synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. Also recorded in 2020, "What The Living Do" is inspired by Marie Howe's poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. "Princess Nicotine (1909)" scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton's surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for "Polly of the Circus," explaining it was the name of one of the old silent films discovered in permafrost in the Yukon featured in the documentary Dawson City: Frozen Time, "the only copy that survived and it kind of warped in the aging process." A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. Like her most affecting work, these songs showcase Lattimore's gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.

Dublin’s Glimmerman impresses with his debut release on First Second Label. 3 subbed-up modern club weapons b/w a remix from the on-form Sputnik One.

Step Mode gets stuck in, pairing twitching junglisms with a feverish techno dancehall pulse. Proper awe-inspired club music for the now. Oxygen Sum is up next, layering submerged sound design with a heaving broken beat-ed thud. A slippery aquatic stepper.

Cutlass is on the flip, an absolute no-nonsense Dubstep wobbler in the finest modern style. Expect rewinds on this one. Our curtain call is with fellow Dubliner Sputnik One, as he remixes Step Mode in his exquisitely supple psychedelic sub-tech style.

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

For Delft-based label Omen Wapta's first release, Japanese musician/sound designer/coder/producer JEMAPUR explores the far reaches of abstract experimental techno on his album Mode Cleaner. Pulling from music made between 2016 and 2020, JEMAPUR demonstrates his distinctive use of glitch, microsampling, live coding, and granular synthesis techniques. The album was made when the producer was drawn to subjects like physics, geometry, murals, ancient civilisations, the logic of nature, and the observation of the universe.

A little more than 2 years ago, labelhead honchos Paul & Dave released their "Nobody is Anywhere EP" on their own imprint Dynamic Reflection. It was a statement about the status quo in the techno scene back then, where many artists didn't know which way to go. Ironically enough, the contrary is very true as we speak.

The "Anybody is Nowhere EP" responds to their previous work and reflects the uncomfortable time we are currently living in, driven by uncertainty. Even though these are not the happiest thoughts, the track titles show that there is hope left. "Emergence" is a very seductive but psychedelic trip towards "Discharge", which feels like Abstract Division discharges themselves completely. The last track, "Polarise" points out the current divided society, which sets some doubtful thoughts about the future.

Scandinavian rebel and Northern Electronics patron Anthony Linell provides his interpretation of the track "Emergence" and delivers a distinctive remix as only he can.

Close your eyes and dive deep into the rabbit hole with us.

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

After a trilogy of spectacular explorations of relentlessly driving rhythms – Sagittarian Domain (2012), Quixotism (2014) and Hubris (2016) – Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes from the Estate while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music – an aspect of his omnivorous musical appetite not immediately apparent in his own work until now – Simian Angel features the remarkable percussive talents of the legendary Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, 'Palm Sugar Candy', Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone we hear is quite new, coming across at times like an abstracted, splayed-out take on the 80s guitar-synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones becomes increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. --- Oren Ambarchi - guitars & whatnot Cyro Baptista - percussion & voice Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente and Oren Ambarchi. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at D&M, Berlin. Executive Producers: Konrad Sprenger & Dick Wolf. Photography by Traianos Pakioufakis. Design by Lasse Marhaug.

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Following the release of their brand new fifth studio album ‘The Absolute Universe’, progressive rock supergroup Transatlantic are pleased to reissue their third album, the much-loved concept record ‘The Whirlwind’ on vinyl. Their first album after a 7 year hiatus, The Whirlwind comprises of a single 77-minute long track divided into 12 parts, and is an album beloved by fans. Available as a Gatefold 180g Black 2LP+CD & LP booklet. This follows the reissue of the bands first two albums ‘SMPTe’ and ‘Bridge Across Forever’.

After being out of print for years, Atmosphere’s fifth studio album, You Can’t Imagine How Much Fun We’re Having, returns on vinyl. Following the breakthrough success of their four th album, Seven’s Travels, the group returned in 2005, showing impressive growth and inventiveness in their new compositions. Citing inspirations f rom a list of less-than-expected sources, including Tom Waits, Mark Lanegan, Shawn Phillips, Spoon, The Mars Volta, alopecia, Public Enemy, Boogie Down Productions, The Beauty Pill, infected wisdom teeth, Craig Finn, TV On The Radio, Australia and I-94 East, among others, the album pushed boundaries without over reaching.

“Atmosphere has never sounded as pointed and focused as it does here on its fifth album.” –Billboard [8 Oct 2005]

“Both a return to form and a major step forward.” –URB Magazine [Dec 2005, p.94]

“Producer Ant’s production is full and springy. Whether flipping operettas on ‘Say Hey There’ or dropping pianos from five floors up on ‘Musical Chairs’ he’s got sundry abilities.” –Pitchfork [3 Oct 2005]

“Ant has never captured Slug‘s pen strokes quite like this, and as an emcee and a songwriter, Slug has never sounded this good over the course of an LP. [You Can’t Imagine How Much Fun We’re Having] is absolutely their zenith, in every sense.” –HipHopDX [4 Oct 2005]

• Vinyl has been out of print for years.
• Written and performed by Slug. Produced by Ant.
• Features popular tracks “Smart Went Crazy”, “Pour Me Another”, and
“Little Man”.
• Vinyl packaging includes 12” gatefold jacket housing black double

EVERY TIME I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. EVERY TIME I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-EVERY TIME I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

repress!

Matt Jones' spark for dance music was ignited in the late 1990s, as a youngster hearing tracks by Fatboy Slim, Basement Jaxx & the Chemical Brothers. A developing interest in electronic music
led him to catch the DJ bug at 16. He soon found his niche within House music, spending every last penny on imported records by House producers such as DJ Sneak, Daft Punk, Erick Morrillo, Todd
Terry & anyone with the right beats. Soon he discovered his preferred style of house music. It all came together after witnessing an
absolutely slamming party courtesy of Chicago House Music legend Derrick Carter. Tough bass lines, Jackin' beats and infectious elodies were all the ingredients necessary. Being somewhat of a gear junkie, he later acquired a sampler in an attempt to push his DJ sets further.
Discovering it was possible to create new music with the sampler, lead him swiftly down the rabbit hole of music production.
Matt Jones' has since gone on to DJ up & down the country & produce a range of material under the House Music umbrella. Music ranging from deep warm up grooves, to Jackin' dance floor cuts,
catering for....

Repress

After getting used to eclectic sounds but always rooted in disco music, boogie with some proto-house drift, at the stroke of a dozen reissues, Omaggio delights us with a two tracks new-wave masterpiece, released in the mid-'80s on Color Record, seminal Flemish label, first and only recording of the Sound On Sound project. The original tracks "Macho" and "Depression" have been fully restored and come courtesy of Peter Gillis. Mr. Gillis is a highly regarded artist, sound engineer, composer and producer who has worked for some of the most important Belgian studios as well as an absolute pioneer of the Euro House scene, and a signatory of some of the greatest hits in this genre.

An absolute stunner we’re glad to see in print again!!!

Black vinyl LP with two color jacket Pressings: 1976, 2012, 2015, 2018, 2021

It could be argued that this is one of the greatest rock n’ roll records of all time!

Straight from Zambia, we have My Ancestors, a tough rock and roll masterpiece like no other. Overdriven fuzz guitars, pop melodies and even a Black Sabbath- esque song. Must be heard to be believed.
Originally released in 1976, My Ancestors is an essential album from Zambia’s Zamrock scene. Brimming with lo-fi fuzzed-out guitar, the album travels the darker undercurrents of 70s rock and roll, warping and heightening the influences of Jimi, the Stones, the Beatles, Deep Purple, and James Brown. 27 year old Chrissy

“Zebby” Tembo provided drums and vocals while Paul Ngozi of the illustrious Ngozi Family was responsible for the aggressive guitar leads.

Originally released in 1989, Dead Moon’s second album is an absolute masterpiece even by their high standards.

The record that built the legend and cemented the band as the greatest rock and roll act of the 90’s. Features some of Fred Cole’s catchiest hooks and heaviest songwriting including favorites like “Dead Moon Night” and “54/40 Or Fight”.

Lo! Soul’ is the fifth solo album from Roddy Woomble, following on from
his acclaimed debut, ‘My Secret Is My Silence’ (2006), ‘The Impossible Song
& Other Songs’ (2011), ‘Listen To Keep’ (2013) and ‘The Deluder’ (2017).
The record sees Woomble continue his unique and restless trajectory, gently
stepping away from his previous acoustic/folk intentions in favour of a more
explorative light, prevalent on 2020’s ‘Everyday Sun’ EP, which featured largely
spoken word pieces over an ambient, mediative soundtrack.
Produced and mixed by collaborator and Idlewild bandmate Andrew Mitchell (aka Andrew Wasylyk), ‘Lo! Soul’ was recorded remotely between Roddy’s
home in the Hebrides and Andrew’s studio in Dundee throughout 2020 while
Scotland was locked-down.
Roddy explains: “Andrew describes moments of the album as ‘Dystopian-pop’
which I think is as good a description as any. Lockdown gave me the sense of
a collective melancholy, a shared remoteness and isolation - that has been a
guiding influence throughout all the songs. It is the most unusual record I have
made, and made in the most unusual way.”
Across his twenty-five year career, ‘Lo! Soul’ may well be Woomble’s most inventive, creative album to date. From undulating synths and ambient soundscapes in the abstract narratives of ‘Atlantic Photography’ and ‘Secret Show’,
the sun-tinged horns of ‘Architecture in LA’, a mellifluous Mellotron or perhaps
a piano chime. Here, the path is embedded with Roddy’s words delicately unearthing the known and never known.

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

Greetings Earth-o-nauts.

The worm has (re) turned! And this time the Regal Worm (Jarrod Gosling of I Monster, Cobalt Chapel) is tackling The Hideous Goblink.
An album painstakingly created by one solitary man ensconced in his darkened, tiny sky parlour of awe, wonder, and heaps of dusty old gear.

Regal Worm’s mission is putting a ‘ggressive’ back into progressive. Getting grubby with the ghosts of the old gods.
The Hideous Goblink reveals a distinct sense of urgency, expressing abstract musings on the shadow cast by our colonial history, nationalism,
terrifying overlords, and what the future might hold for the ever shrinking third tone from the sun.

The fourth Regal Worm offering draws on a number of fresh musical influences; be it space rock, cosmic funk, sludge, fusion, choirs, electronics or pop.

“The noisiest pop music on the planet” - Pitchfork Austin, TX’s cult noise rock trio CHERUBS return with their new EP, SLO BLO 4 FRNZ & SXY. A follow up to their critically acclaimed Immaculada High (2019), the new EP capitalizes on the musical frenzy and shining moments of the latest full length, resulting in another dose of the legendary band's take on punk infused noise rock. Lead track "A Pair of Pear Tarts" explodes out of the speakers - Kevin Whitley's vocals are at the forefront once again, backed by absolutely raucous drumming and whirry, fuzzed out bass and guitars. "Lazy Snakes" continues this momentum; the trademark psychedelic qualities of CHERUBS heaviness are at the forefront as drums rinse and repeat as the song builds and builds. Elsewhere on the EP, Immaculada High standout "Sooey Pig" is converted into an acoustic anthem, giving the track new dynamics and heights. For Fans Of: The Melvins, Metz, Queens of the Stone Age, Unsane, Butthole Surfers

Cult American ambient label Past Inside The Present looks to New York City-based composer Christina Giannone for her new full length Glazed Vision, which is pressed to nice heavy 160 gram pink vinyl. This is her third full length following 202's The Faint and a collaborative work also last year, and it is another development of her dark, heavy, drone fulled ambient landscapes. These are lo-fi, foggy tracks that hang in mid air and make you feel like you're doing the same as only the most subtle of shapeshifting chords brings a sense of motion. It is bleak yet beautiful and never less than hugely absorbing.

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

After his debut LP ‘Temmuz’, released at the beginning of last year, Houschyar is back on Macadam Mambo with his new album: a less danceable but more personal opus. Being locked up on the rooftops of Istanbul, Houschyar repurposed a satellite dish, making use of its perfectly round and concave shape to create strange metallic-sounding percussive loops which he painted with sonic atmospheres that contained diverse shades of blue. ‘Mavi’ is an introspective pallet of emotions condensed into 7 hybrid compositions highly improvised which divagate into a very jazzy modern state of mind, jamming with pianos, electronic organs and rhythm boxes to produce another type of spiritual music that sounds absolutely timeless. In a very prolific year - with his release with DJ Sofa and Okay Temiz on Music from Memory and the initial EP of Raphael Kosmos’ newborn label Späti Records -, Marius Houschyar leaves no doubt about the level of his talent and him being part of a new generation of artists to keep a close eye on. To discover as soon as possible!

Techno can be happy, techno can be sad, techno can be fast, techno can be slow, it can be deep or banging, it can be straightforward as well as abstract. It might be the soundtrack of hell but may bring you to paradise. Techno has many faces and this compilation shows but some of them.
STAUB has always been about the unknown and about diversity: newcomers come on stage after old-timers, peak time happens anytime. Line-ups are not announced. The rules of the game are blurred.

STAUB 006 will be released this September. A record that embraces the very idea of various with 5 tracks and 5 shades of a genre we love and sometimes live for.

On October 15th, Mac Miller's cult favourite mixtape Faces will be available on all streaming services for the first time since its initial release. The project, which originally debuted on Mother's Day 2014, is a vital release in Mac's catalogue that followed-up his critically-acclaimed sophomore album Watching Movies With The Sound Off. Upon its arrival, the mixtape served as the high water mark for Mac's technical prowess and cemented a creative actualization that would continue through his career; reinventing himself with each new project. Reviewing the project following its release, critic Craig Jenkins succinctly described it as "the best work of his career.
"In addition to being made available on streaming services, Faces will be available on vinyl for the first time on October 15th. .

The announcement of the mixtape’s release on streaming services next month arrives alongside a new music video for Faces highlight "Colours and Shapes." Its director Sam Mason speaks on the work: “The track felt very visual to me—like it had its own world. This atmospheric night time place that was sometimes dangerous, sometimes comforting, then I saw a picture of Ralph and a story emerged. To build it out I asked Malcolm’s family to send me bits and pieces from his childhood, scenes from the town where he grew up, objects, toys from his room—little pieces of his life that I extrapolated outwards and used to inspire the story. In the abstract, it’s meant to be a video about childhood—growing up as an artist and the highs and lows of that experience. It’s sort of a look at the emotional and difficult and perilous but noble path of an artist. ”Stay tuned for more Mac Miller and Faces news soon.

Toolroom founder and Grammy-nominated producer Mark Knight announces his new album Untold Business: 13-track collection of vocal house music which aims to inject a much-needed dose of meaning and longevity into the world of dance music.

Mark Knight has gone back to his roots on his new album Untold Business, reprising the sounds and records that made him the artist he is today. Diving through his extensive collection of classic Funk, House, Soul and Disco records from the 1970s and 80s has provided the bedrock for the album, which is an homage to the soulful, vocal-led house music that Mark first fell in love with in the 90s.

Step forward Mark Knight with a collection of meticulously crafted, positive, life-affirming records with a focus on real instrumentation and properly crafted songs that will stand the test of time. Untold Business is the antithesis of the functional, cookie-cutter dance music that has become increasingly ubiquitous over the years, and it sounds absolutely glorious.

Lead single ‘Everything’s Gonna Be Alright’ features vocals from Beverley Knight as well as the London Community Gospel Choir, who together bring a powerful message of positivity, solidarity and hope: themes that echo throughout the rest of the album.

“I wanted to write a song of hope as we come out of this incredibly tough time. I feel that musicians and producers have a responsibility to provide the soundtrack to people’s lives, and with this glimmer of hope on the horizon, I wanted this song to be a moment of positivity for the future ahead.” Mark Knight

From the string section, to the 14-piece London Community Gospel Choir, to the incomparably brilliant Beverley Knight on lead vocals – Mark worked with some incredible musicians on the single: an approach that informs his approach for the entire album. Untold Business features further collaborations with the likes of Shingai (Noisettes), Michael Gray, Robert Owens and many more.

In addition to the 10 new tracks recorded especially for the album, Untold Business also includes three of Mark’s singles from 2020, including one of the biggest releases of his career to date. All 4 Love was a collaboration with Rene Amesz and Tasty Lopez which became firmly lodged on the Radio 1 A list for six weeks with worldwide success following soon after. Picking up more than 10 million streams on Spotify it was without doubt one of the biggest house records of the year. Also included here are ‘If It’s Love’ - a joyous celebration of a soulful house sound that came to prominence in the 90s – and ‘Tonight’, which took inspiration from the brisk, looping, filtered house music of the early 00s.

Over the course of five records to date, JUNO Award-winning Toronto rapper Shad has used an array of old-school tools to tackle modern problems, addressing the indignities and absurdities of our world through a shapeshfiting melange of boom-bap breaks, dusty soul samples, jazzy improvisation, and 10 dollar words rolled into thousand-dollar rhymes. But after weaving his myriad musical and philosophical interests into a narrative socio-political song cycle—2018’s A Short Story About a War—Shad began building his sixth record, TAO, from a much simpler concept: an image of a circle. Though, in true Shad fashion, he saw something much more profound within its basic round boundaries.

“The thing that inspired this record was this image in my mind of a circle, but it’s getting fragmented, and then the pieces start floating away from each other,” he explains. “And that felt to me like a picture of ourselves as individuals. If you think of our humanity as one whole, there’s all these different aspects of that, whether that’s work, or our relationship to the land, or our relationship to the transcendent, or our relationship to our bodies, or to our inner child?”

We're heading deep into the bowels of the cosmic basements with our latest vinyl release which is headed up by those 2 lovely souls from Leeds, PBR Streetgang.

From rocking it all over the globe to releasing a plethora of absolute yesmate bangers & a long player too, we're pretty thrilled that they have joined our family of music makers with their double A side E.P. 'Transpennine Express'.
GCP gets the party started and instantly takes you to 4am at Barbarellas Discotheque with stacks of throbbing-ness & pumping, laser reaching vibes whilst the boys take you down a wormhole of electronic music pleasure.

Condor jumps ships from Barbarellas & hot foots it over to Berlin to sweat it out in basement with only a smoke machine for company and tons of ravers. Pulsating synth surfs across a chubby bass with some slick as heck cosmic stabs making this a multitude of all that is good in proper dance music.

If the originals are on the dance floor then we made sure to go full on weirded-out on the remixes and crikey they don't disappoint!
ELLES totally flips the script on GCP and turns in a hazy, broken beat style electro groover with a full vocal giving it the sound of a lost track by A Certain Ratio.

Psychederek takes the 'make sure to go really wonky!' advice we gave when sending the parts to Condor and matches ELLES with his full on acid tinged psych wig-out rework. The beat sure is broken, the bass guitar punches, the old school piano thumps and the whole thing sounds like an amazing Andrew Weatherall remix from the mid 90's you never knew existed.

Something for everyone.from clubs to shebeens to after parties & beyond...