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Limited black vinyl. Full colour sleeve with unseen pics of Ron Geesin in his studio doing maths stuff on the back.
Wow! So you’re telling me Ron Geesin made this kooky electro groovy score to a really progressive maths educational programme on Central TV in 1980 and it’s musically anarchic and amazing and it’s never been issued before? Until now. Wow again!!!! And there’s 30 tracks!!! Trunk Records we love you...
Basic Maths was the second educational TV Series for the Midlands-based ITV station for which I composed, played and recorded all music and noises. The first series, also for budding mathematicians in the 7-10 age group, was Leapfrog in 1978 produced by ATV (Associated Television): Basic Maths was for the newly-formed Central Television, the work spanning 1980-1981; both series were of twenty-eight parts.
The most worthy idea for both of these series was to project mathematics into life by means mainly of non-verbal sound and vision, with both animated and live action films, linked by two presenters, Fred Harris and Mary Waterhouse. In my role as Media Composer, I had had quite enough of voice overs, therefore music well under, so this fairly radical educational approach at the time encouraged my creative juices to run unhindered. Of course the sound had to do something with the picture and not just use it as a carrier for peacock display. It had to duet, play with and explain the visual content using novel and engaging techniques, so this involved the usual and sometimes intricate mathematical calculations which constantly exercised my already reasonable school maths.

LTD 260 copies pressed / printed sleeves / Sealed

Jungle master Krak In Dub’s new album Catleya is a vibrant hommage to Colombia and its incredibly diverse musical culture. Entirely recorded in Bogotá with the who’s who of today’s Colombian music scene, the album casts a brand new light on the fusion of beats and Latin-American traditional rhythms and instruments, blending reggae, hip-hop, breaks and house with cumbia , afrobeat, ska, and bullerengue.
Standing out on this sun-soaked yet heavy-on-the-beats-and-bass adventure is the appearance of female modern folk trio La Perla, the Afro-Colombian combo Absalon & Afropacifico, and Bermudian singer Troy Berkley.

The Selenites Band returns with a Live album ahead of their 3 Studio album, due for release in late 2024. 8 tracks of psychedelic jazz influenced by Ethio-groove, Swinging Addis and pentatonic grooves, recorded in analog on tape recorders during two concerts between 2021 and 2023.

These recordings are an opportunity to discover 5 previously unreleased tracks, as well as live versions from the previous album "Behind The Mask". The Selenites Band are first and foremost a live band, and we've seen them at the New Morning, in Paris, in Belgium, as well as opening for the prestigious group GONG, on their only date in France, and at many other festivals. The Selenites Band's lively style takes us into a world of traditional music, Shamarnic grooves, spicy jazz and bewitching rhythms. A melodic universe, a music of heady modal trance, a cinematic space of energetic jazz punk! . All compositions are by Antoine "Obi Riddim" Laloux, with the exception of two tracks by Seyoum Gèbrèyès and Tlahoun Gèssèssè.

All sleeves are hand-silk-screened and numbered / limited edition

Electronic Works for Choreography, Soundtrack, and Art Installation 1976-1996

Marden Pond’s “Evaporations” (1976-96) is an archival project showcasing the composers experimental music approaches that utilize synthesizers, electronics, and computer. These rare or unreleased tracks and demos were initially purposed for art installation, dance and theater , music exploration, and ambient listening experiences. Marden was artistically right beside his contemporaries of the Land Artist Movement of the Southwest during the 70’s, as he created soundscapes inspired by the vast and bizarre features of Utah. Some of the other work presented on this record was to inspire physical movement by use of unorthodox arrangements and percussive rhythms, juxtaposed with fleeting synth phrases and environmental textures.

Besides the two tracks included from Marden’s hyper rare 1980 private press LP “Castle Valley Impressions”, this collection of music is being presented on vinyl for the first time.

"Fast hätten wir gedacht: es könnte gut ausgehen". Zwei nervenaufreibende Jahre lang haben L'APPEL DU VIDE aus Chemnitz an ihrer Debüt-EP gearbeitet, jetzt ist die "Abwärtsspirale" in Gang gesetzt. Ihre selbstgewählte Genre-Zuschreibung Dark Punk kratzt dabei nur an der Oberfläche. Das Spektrum reicht vom aggressiv-düsterem Surf-Punk ("Das bin ich nicht") über spröden, repetitiven Sound mit Noise-Ausbrüchen ("Aufmerksamkeit") bis zu hymnisch-melodischen Post-Punk ("Delirium"). Bei "Das Programm", - einer bittersüßen Romanze in Zeiten totaler Überwachung - , wird es plötzlich ungewöhnlich ruhig-melancholisch dank 60ies-Orgel und Background-Gesang von Mara. L'APPEL DU VIDE beschäftigen sich textlich in knappen Worten mit Verleugnung, Scheitern und Entfremdung. "Delirium" klingt dabei wie der Soundtrack zur Pandemie, wurde aber schon 2019 geschrieben. Die Songs wurden von Flatty aufgenommen und klanglich von Max Herrmann/Gloven Studio Leipzig (Mix) und Mikey Young (Mastering) veredelt.

"Du reitest über die Zwickauer Hügel nach Nordosten. Die Lederzügel schneiden sich in deine gefrorenen Hände, während sich heiss-saurer Sod nach oben brennt. Metaphysischer Katerschweiss sticht sich Pore für Pore durch deine Haut, durch ein verblasstes Sargtattoo auf dem Unterarm. Die müden Füße in den NVA-Stiefeln deines Vaters umklammern die Flanken eines dampfenden, grauen Appaloosa, oder ist es doch nur die frisierte Simson S51? Egal, denn eigentlich ist es deine ur-eigene Mind-Machine, in der du dem Ruf der Leere folgend durch die Ruinen der Selbsterkenntnis irrst. Nach Chemnitz - dem San Francisco des ganz kleinen Mannes. Erwarten wird dich dort allerdings nicht Bernd Spier's einfältige Flowertime, sondern Asbest, Eternit und vor allem die Risse, die sich durch ebendiesen ziehen. Genau da verdichten sich die Songs auf L'Appel du Vide's erstem Full-Length "Metro" jedem Leerstand trotzend zu einem 9 Stories hohen Monolithen aus Post-Punk, Death-Rock, Synth- und Darkwave, der einen - einmal erklommen - über jene Genregrenzen hinwegschauen lässt. Ein schwarz-schimmernder Jengaturm aus (East-)German Angst und kompromissloser Innenschau. So viel aufrichtiger wankend, als ein Campino im einstudierten Seitwärts-Taumeltanz der Mitte der Gesellschaft weismachen will, führt er dich weg von den tief hängenden Früchten des epigonalen (Post-)Punkswindles. Hin zu den aufgehenden Blüten echter Musikliebhaberei. Man hat sich festgebissen und ist drangeblieben, hat geschürft und sortiert, die Linernotes gelesen und vor allem eins: den vielen Platten zugehört. Die Schubladen aufgemacht und offen gelassen. Sänger René klagt sich ohne Allüren, zeigefingerfrei und immun gegen jedes Zeitgeistgeheische ins zunächst eigene Herz. Die Gitarre sägt, klirrt und kreischt vor Hunger und ist doch satt. Die Rhythm-Section knurrt und scheppert und bumst sich geradeaus in den Abyss, aus dem auch analoge Synths hier und da auftauchen um kurz Luft zu schnappen. Überhaupt kann man die Instrumente atmen hören, so ehrlich ist der Sound. Gitarrist Flatty hat die Band Anfang 2023 im Studio Gloom, Chemnitz aufgenommen. Doch da ist nicht nur Sachsen und die zu oft beschworenen, modrigen Wurzeln der Hängengebliebenen. Da ist Detroit, Frisco und Los Angeles. Manchester, New York und Portland. Und genau so wie Poison Idea's "Feel the Darkness" (um dann doch mal eine Reminiszenz zu bemühen) beginnt, endet "Metro" nach 37 Minuten Spielzeit - mit nacktem Piano. Dazwischen: eine Verwandtschaft in Wucht und Haltung, nur ohne Metal- und Gepose. Just Power and Void. Und in der Satteltasche ein altes Foto vom Meer, körnig, schwarz weiss und doch alle Farben widerspiegelnd.

The punk movement also came fully clothed. Mal-One’s new single talks about the fashion side of Punk that ran parallel to the music. These clothes were supplied from Malcolm McLaren and Vivienne Westwoods emporium situated at 430 King’s Road, the epicentre of the Punk Movement itself. The clothes were not cheap and you needed deep pockets to buy them. But you also needed an attitude to wear them, as many factions were not so appreciative of them, especially the ‘Teddy Boys’. You had to run the gauntlet of the King’s Road on a Saturday from Sloane Square to the Worlds End. A tricky mile, in which you always had to keep your eyes open from enemy attack.

A Paris resident of Minsk origin, Lina Filipovich’s ‘Music for an imaginary dancefloor’ explores the liminal space between club music and something altogether weirder, elusive, and abstract. Nervous, varied and amplified by various delays, the LP was written from improvisations on analogue synthesizers between June and December in 2022.

Atonal drones and atmospheric textures convey imagery of charcoal skies and silk tapestries; an idealised parallel world untethered from reality and bodies, towards something more ethereal – floating freely in red carpet lined corridors.

“In my previous works, I used pre-existing sounds to create new pieces. I was interested in the appropriation and decontextualization of materials from various traditions and contexts. However, in this album, I don't deconstruct; instead, I attempt to co-write with the machines, relying on their aesthetics and my imagination.”

Lina's LP trickles down the spine, pulse-raising and gooseflesh on tender skin, analogous to the aftermath of a sweaty fever dream. Speaking the language of spirits in the allure of the dark.

Press release by Asmi Shetty

Kater's captivating songs celebrate the power of oppressed people and act as an antidote to centuries of exploitation, fear, and greed. This collection of ten songs, featuring appearances by today's finest roots musicians such as Allison Russell, Aoife O'Donovan, and Taj Mahal, showcases Kater's biting topical songwriting and deft arranging chops. 'Strange Medicine's' intricate orchestrations were inspired by diverse sources: composer Steve Reich's propulsive minimalism, the frenetic jazz drumming of Brian Blade, the unsettling orchestral scores of film composer Jonny Greenwood, and the spiraling rhythms of the West African kora.


Furthermore, Kater's delicate yet robust banjo playing charts new territory well beyond what's expected of the instrument. With 'Strange Medicine', Kater taps into the full kaleidoscope of her artistry, creating an outlet for our collective grief and celebration and inviting the ancestors to a place of honor at the table.

Aspernamentum is the creation and vision of multi-instrumentalist D. Johansson. In a scene flooded with vague mindsets and a artificial approach to meaningful and pure black metal, Aspernamentum carves it's own path fuelled by the true essence of Satanism. "Primal Judgement Manifesto" is the culmination of a seed planted years ago. It's the first step and presentation of Aspernamentum and it signifies the core elements of the true spirit of black metal. Primal, simple and honest.

Aspernamentum is the creation and vision of multi-instrumentalist D. Johansson. In a scene flooded with vague mindsets and a artificial approach to meaningful and pure black metal, Aspernamentum carves it's own path fuelled by the true essence of Satanism. "Primal Judgement Manifesto" is the culmination of a seed planted years ago. It's the first step and presentation of Aspernamentum and it signifies the core elements of the true spirit of black metal. Primal, simple and honest.

Manchester’s multifarious sound organiser Andrew Hargreaves (Tape Loop Orchestra, The Boats, Beppu) channels key touchstones of Glenn Branca’s microtonal minimalism, the paranormal, and DIY amateur broadcasting with some of his most enigmatic, intuitive recordings to date.

‘Drones In The Air’ finds Hargreaves deep in a new phase of vibrational investigation where the sentimentality of prior eras gives way to more abstract conceptual processes. Utilising a bunch of oscillators and the Lyra-8, an “organismic analog synthesiser”, plus pedals, Hargreaves works within just intonation tuning systems - or more precisely “intuitive intonation” - to just-about harness a microtonal flux of clashing, beating frequencies, but the project is more about ceding a certain amount of freedom to the machines and allowing aural alchemy to occur, prompting a spectrum of harmonic colours and rich timbral overtones distinguished from previous tape loop-based works.

Comparative to “Glenn Branca’s micro-tonal workouts if he had worked with oscillators instead of guitars”, the result also variously evoke mysteries of The Conet Project, the oceanic feel of Éliane Radigue compositions, and early ambient works by Terre Thaemlitz in their sound sensitivity and scope. In ‘The Sun is Afraid’ he mesmerises with glistening microtones that develop a coarser traction, interrupted by shortwave radio comms and resolving into phantasmic noise gauze that speaks to his long-standing fascinations with entropic decay and the sounds between sounds. ‘Your Hands Are Shaking’ follows with a stealthier approach to coaxing a hallucinatory drone mass inflated by ether voices and thickening up into a sinister gloam redolent of NWW’s ’Soliloquy for Lilith’.

2024 Repress

Ned Doheny's Hard Candy, originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It is has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on vinyl for almost 40 years. Previously bootlegged in derisory fashion, original copies are rarely found for less than $100.

Be With Records, a new vinyl-only reissue label, continues apace by marking its third release with the first officially licensed reissue of Doheny's nautical classic. Perhaps most famously, this impeccably smooth set features the timeless Get It Up For Love, a wonderful example of mid-70s mid-tempo white-(hot)-funk.

Produced by the legendary Steve Cropper, it featured a veritable who's-who of the Laurel Canyon soft-yacht sound (JD Souther, The Eagles, Linda Ronstadt, the entire horn section for Tower of Power!) yet bombed mysteriously. It's been a cult record since.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and full colour inner sleeve, this very limited reissue of 500 copies is one not to be missed.

2024 Repress

It's been quite a while since we've last seen our next artist on Watergate Records. It was 2014 when he dropped his Watergate mix and EP so it is with great pleasure that we welcome back the legendary Kerri Chandler. 'Checkmate' is the epitome of a Kerri Chandler classic and has all the makings of a timeless future classic. With bold, soulful keys and massive analog drums 'Checkmate' elevates any dance floor's intensity to meteoric levels. To give an extra perspective to the single we invited another icon, Steve Rachmad to remix the original and he delivers an incredibly soulful Techno revision while Watergate mainstay Cinthie hands over a expertly crafted modern twist with classic appeal. No matter what your searching for, there is a gem for you here. Welcome back Kerri!

Die Londoner Band Home Counties veröffentlicht nach ersten EPs ihr Debütalbum 'Exactly As It Seems', produziert von Bandgitarrist Conor Kearney und gemischt von Andy Savors (Black Country New Road, Rina Sawayama, Sorry). Home Counties haben sich als eine der wichtigsten neuen Alternative-Bands Großbritanniens etabliert, die mit Shame, Psychedelic Porn Crumpets, FEET, Courting und bdrmm auftraten und von BBC Radio-DJs sowie Elton John (Apple 1) unterstützt werden. Der Band gelingt es, lyrische Offenheit über die besch******* Details des modernen Lebens und musikalischen Schwung mit Begeisterung in Einklang zu bringen. Nach dem treffenden Motto: 'Mein Leben ist ruiniert, weil ich mir die Miete nicht leisten kann, aber ich werde darüber tanzen.'

Bow To Love is the new album from Glasgow-born singer-songwriter Isobel Campbell. The result is an inquisitive, complex and fully matured album from an artist who has travelled long and far. Campbell was first noticed as a teenage founder member of Belle & Sebastian, before she released two dream-folk solo albums under the name The Gentle Waves and left B&S in 2002. Two records under her own name followed, leading to a union with late rock-carved growler Mark Lanegan for three albums of gravel"n"honey Americana duets, where Lanegan would stand aside while Campbell called the creative shots.

A collection of mind blowing songs from Hindi films 1958-1984. 12 musical gems from the Bollywood vaults with a wide variety of styles thrown in the mix, from the classic to the rare, a must! An astonishing overview of the magnificent musical talents populating Bollywood films. With a predilection for movies with a strong musical backbone where songs and musical numbers play a pivotal role, the Hindi cinema boom gave birth to a strong and creative music industry where composers, musicians, musical directors, conductors, producers, singing actors, and playback singers (singers who provide vocals for the musical parts of roles played by actors or actresses) found a perfect place to develop their careers. A sample of those incredible talents is included in this compilation, the ideal point to start digging deeper into the lush garden of musical delights that is Bollywood

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

The Avett Brothers kündigen ihr erstes selbstbetiteltes Album an, mit dem ersten neuen Material seit vier Jahren. Produziert wurde das Album von Rick Rubin.

The Avett Brothers, die bereits für drei GRAMMY Awards nominiert wurden, sind in ihrer Karriere in zahlreichen US TV Shows aufgetreten, wurden mit fünf Americana Music Awards ausgezeichnet, haben allein in den USA mehr als 2,5 Millionen Alben verkauft und zählen zu den bekanntesten aktuellen Bands im Folk Rock.

'Hex Dealer' ist das Debütalbum der New Yorker Electronic-Punk-Band Lip Critic. Produziert von Sänger Bret Kaser sowie Connor Kleitz. Ihr eklektischer Sampling-Stil wird durch die ansteckenden Breakbeats und knackigen Snares der Schlagzeuger Danny Eberle und Ilan Natter noch verstärkt.

12 rasante Tracks, eine einzigartige Mischung aus klassischem Punk/Hardcore und elektronischen Stilmitteln. Postmoderner Pop wie gemacht für eine Zukunft ohne Genregrenzen. Unverwechselbar, tanzbar, manisch und pendelnd zwischen den extremsten Emotionen.

NME ("auf dem Weg zur nächsten großen NYC-Band"), Paste ("ein apokalyptisches Ödland aus NYCs bestem Underground-Punk"), Rolling Stone ("Songs, die man kennen muss"), Loud & Quiet ("einer der meistdiskutierten Acts in NYC"), Mary Anne Hobbs auf BBC 6 Music und Matt Wilkinson ("absolut unverzichtbar") feiern Lip Critic schon jetzt.

In einer Welt, die sich oft bedrückend anfühlt, sind Insanity Alert wild entschlossen, zu feiern, als gäbe es kein Morgen. Skifahrer besuchen Österreich wegen der pulvrigen Pisten, aber als sich diese Adrenalinjunkies 2011 in Innsbruck zusammenfanden, hatten sie eine viel krassere Art des Shreddens im Sinn. Ihr zerstörerischer Appetit auf 80er-Jahre-Crossover-Thrash wird nur noch von einem unstillbaren Durst nach eiskaltem Bier und guten Bud(s) übertroffen. Moshemian Thrashody hält die Party in Schwung. Insanity Alert geben vier bekannten Klassikern, darunter Guns 'N' Roses und Iron Maiden, einen schnellen und spritzigen Dreh. Einer von ihnen könnte Sie allerdings überraschen. Die Leadsingle "Beerless Fiesta" parodiert... George Michael? "I'm never going to drink again / Poor old lives has taken a beating" schreit Heavy Keevy in rotznasiger Agonie, als würde er sich an die Toilette klammern. Aber Insanity Alert werden sich nicht so bald in den Mosh-Ruhestand begeben. Der Titeltrack packt die Queens-Theatralik auf ein Clownmobil voller Scherze. Don Melanzani schmettert Blast-Beats herunter. Die Ganggesänge sind lauter als eine deutsche Bierhalle. Wenn Special Guest Hauwitzer auf der Party vorbeischaut, geht sein Gitarrensolo ab wie eine Flasche Champagner. Nach mehr als einem Jahrzehnt harter Partys gehen Insanity Alert immer noch überall hin, wo das Gras weht.

In einer Welt, die sich oft bedrückend anfühlt, sind Insanity Alert wild entschlossen, zu feiern, als gäbe es kein Morgen. Skifahrer besuchen Österreich wegen der pulvrigen Pisten, aber als sich diese Adrenalinjunkies 2011 in Innsbruck zusammenfanden, hatten sie eine viel krassere Art des Shreddens im Sinn. Ihr zerstörerischer Appetit auf 80er-Jahre-Crossover-Thrash wird nur noch von einem unstillbaren Durst nach eiskaltem Bier und guten Bud(s) übertroffen. Moshemian Thrashody hält die Party in Schwung. Insanity Alert geben vier bekannten Klassikern, darunter Guns 'N' Roses und Iron Maiden, einen schnellen und spritzigen Dreh. Einer von ihnen könnte Sie allerdings überraschen. Die Leadsingle "Beerless Fiesta" parodiert... George Michael? "I'm never going to drink again / Poor old lives has taken a beating" schreit Heavy Keevy in rotznasiger Agonie, als würde er sich an die Toilette klammern. Aber Insanity Alert werden sich nicht so bald in den Mosh-Ruhestand begeben. Der Titeltrack packt die Queens-Theatralik auf ein Clownmobil voller Scherze. Don Melanzani schmettert Blast-Beats herunter. Die Ganggesänge sind lauter als eine deutsche Bierhalle. Wenn Special Guest Hauwitzer auf der Party vorbeischaut, geht sein Gitarrensolo ab wie eine Flasche Champagner. Nach mehr als einem Jahrzehnt harter Partys gehen Insanity Alert immer noch überall hin, wo das Gras weht.

Göden’s second endeavor Vale of the Fallen out on 17th of May 2024 Göden is back, and on their latest album the sound is heavier than ever. Guitarist/Bassist Stephen Flam is best known for his previous work with the band Winter, whose sludgy dirge earned a cult following for years to come. Göden is the spiritual successor to Winter. One could say Celtic Frost is to Triptykon what Winter is to Göden. Their debut album, “Beyond Darkness” stood on its own in creating a distinctive world. Now, four years later, they explore new sonic territories with their second album, “Vale of the Fallen”. While "Beyond Darkness" was a concept album that propelled listeners into space, whether inner or outer, “Vale of the Fallen” brings us back to twisted reality. Their more in-your-face approach should only intensify the experience-much like a walk through a post-apocalyptic landscape in the bleakest imaginable conditions. Sound-wise, Stephen Flam's heavier-than-life riffs, Vas Kallas's sardonic delivery and Tony Pinnisi's keyboards create oppressive atmospheres atop Jason Frantz's powerful drumming, while Margaret Murphy’s violin weaves ghostly motifs. Like its predecessor, “Vale of the Fallen” features interludes which provide brief respites between some tracks, only to return to the crushing heaviness in yet another avalanche of sound. This might be your favorite album of 2024.

Göden’s second endeavor Vale of the Fallen out on 17th of May 2024 Göden is back, and on their latest album the sound is heavier than ever. Guitarist/Bassist Stephen Flam is best known for his previous work with the band Winter, whose sludgy dirge earned a cult following for years to come. Göden is the spiritual successor to Winter. One could say Celtic Frost is to Triptykon what Winter is to Göden. Their debut album, “Beyond Darkness” stood on its own in creating a distinctive world. Now, four years later, they explore new sonic territories with their second album, “Vale of the Fallen”. While "Beyond Darkness" was a concept album that propelled listeners into space, whether inner or outer, “Vale of the Fallen” brings us back to twisted reality. Their more in-your-face approach should only intensify the experience-much like a walk through a post-apocalyptic landscape in the bleakest imaginable conditions. Sound-wise, Stephen Flam's heavier-than-life riffs, Vas Kallas's sardonic delivery and Tony Pinnisi's keyboards create oppressive atmospheres atop Jason Frantz's powerful drumming, while Margaret Murphy’s violin weaves ghostly motifs. Like its predecessor, “Vale of the Fallen” features interludes which provide brief respites between some tracks, only to return to the crushing heaviness in yet another avalanche of sound. This might be your favorite album of 2024.

"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions of that extreme honesty, with that extreme capability. Like Derek Bailey’s 'Ballads,' this record brings you into the room and the breath of a true musician whose mastery does not overshadow his appreciation of the music that inspired it. The title, 'Repertoire,' underscores the beautiful songs he chose to perform, all standards of 20th century musical excellence. The in-time persistence of his blues-walked 'Lonely Woman.' The grand registral descent he performs on 'Pithecanthropus Erectus,' like a rare document of the trip down from Everest. Dig how 'Better Get Hit in Your Soul,' emphasizes the folk blues water coursing through Mingus’s Ellingtonia, how Aphex Twin’s 'Avril 14' and the Minutemen’s 'Cohesion' sound so much older than Cage’s 'Totem Ancestors.' 'Repertoire' puts forth the idea that time is arrangement: time and arrangement are each only as successful as they are faithful to their origins and expansive in their style. Again, lest you fear the alien smoothness some associate with the concept 'virtuoso,' remember here we’re dealing with a time- traveler. His virtuosity is home grown, born of human work rather than some abstract or divine touch; the aim is not to go beyond the realm of human technical possibility but to expand it in the direction of human, meaning, timely. This guy can play anything, and for you, for this record, which sounds intimate and as present as a transmission from a time-traveler, he chooses to."—Wendy Eisenberg

GER Jim Jarmusch und Carter Logan (Gründungsmitglieder von SQÜRL) kehren mit einer klanglichen Erkundung des filmischen Werks des dadaistischen Pioniers Man Ray zurück, einem fesselnden Projekt, das Musik und Film miteinander verschmilzt. In den vergangenen acht Jahren haben SQÜRL das Publikum mit ihrer Live-Vertonung von Man Rays Kurzfilmen in ausverkauften Konzerten an renommierten Orten wie dem Centre Pompidou in Paris, der Queen Elizabeth Hall in London und dem Art Institute of Chicago verzaubert. Der Höhepunkt ihrer Bemühungen fand im Frühjahr 2023 statt, zum 100. Jahrestag von Man Rays erstem Ausflug ins Filmemachen, als der neu restaurierte Film "Die Rückkehr zur Vernunft" bei den Filmfestspielen von Cannes seine Premiere feierte. Der von Womanray (Marieke Tricoire) und Cinenovo (Julie Viez) produzierte Film ist eine Anthologie mit vier Stummfilm-Kurzfilmen von Man Ray - Étoile de mer (1928), Emak bakia (1926), Le Retour á la Raison (1923) und Les Mysteres du Château de Dé. (1929) - jeweils gepaart mit einer Originalpartitur von SQÜRL. Jarmusch und Logan, zwei multidisziplinäre Künstler, die für ihre Experimentierfreudigkeit bekannt sind, wollten mit diesen Partituren einen ekstatischen Zustand schaffen, einen Raum zwischen Bewusstsein und Unterbewusstsein, Realität und Surrealem. Das daraus resultierende Album "Music for Man Ray", das aus einer Live-Aufnahme im Centre Pompidou in Paris im Februar 2023 hervorging, enthält verzerrte Gitarren, hypnotische Rückkopplungen, Loops und affektierte Synthesizer Logan: "Es ist eine Reise, auf die wir das Publikum mitnehmen wollen, indem wir Themen in diesen Filmen beleuchten. Sie sind eigenständig, aber es gibt auch wiederkehrende Anklänge im gesamten Programm." Jim Jarmusch fügt hinzu: "Wir sind sehr stolz darauf, die Begleitband von Man Ray zu sein." Nun erblicken sowohl der Film als auch die daraus resultierende Musik in Form von "Music for Man Ray" das Licht der Welt - beide stehen als Zeugnis für die kreative Synergie zwischen Man Rays bahnbrechendem Kino und der innovativen musikalischen Interpretation durch SQÜRL.

[ENG] Clear Vinyl. Jim Jarmusch and Carter Logan (founding members of SQÜRL) return with a sonic exploration of the cinematic works of Dadaist pioneer Man Ray, a captivating project that melds music and film. Over the past eight years, SQÜRL have been enchanting audiences with their live scores to Man Ray's short films across sold-out shows in prestigious venues like the Centre Pompidou in Paris, Queen Elizabeth Hall in London, and the Art Institute of Chicago. The culmination of their endeavor took place in the spring of 2023, on the 100th anniversary of Man Ray's inaugural foray into filmmaking, when the newly restored Return to Reason premiered at the Cannes Film Festival. Produced by Womanray (Marieke Tricoire) and Cinenovo (Julie Viez), Return to Reason unfolds as an anthology featuring four silent short films by Man Ray _ Étoile de mer (1928), Emak bakia (1926), Le Retour á la Raison (1923), and Les Mysteres du Château de Dé. (1929) _ each paired with an original score by SQÜRL. Jarmusch and Logan, two multi-disciplinary artists known for their experimental prowess, approached these scores as a way to create an ecstatic state, a space between consciousness and unconsciousness, reality, and the surreal. The resulting album, Music for Man Ray, born out of a live recording at the Centre Pompidou in Paris in February of 2023, features distorted guitars, hypnotic feedback, loops and affected synthesizers. In the words of Logan, "It's a journey we want to take the audience on, illuminating themes throughout these films. They are discrete, but there are also recurring echoes throughout the whole program." Jim Jarmusch adds, "We feel very proud to be Man Ray's backup band." Now both the film Return to Reason and the resulting music in the form of Music for Man Ray are seeing the light of day _ both stand as a testament to the creative synergy between Man Ray's groundbreaking cinema and the innovative musical interpretation by SQÜRL.

One of the most essential works from Nurse With Wound, coming in an extended luxury 3x picture LP and 2CD edition, with many unreleased, alternative versions and songs.

This album is the sister album to Current 93’s same titled album and it’s a crownjewel for collectors of avantgarde and experimental music.

The original release of Nurse with Wound’s gargantuan “Thunder Perfect Mind” in 1992 coincided with that of Current 93’s homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet’s then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn’t quite where the similarities end, both albums have since become undisputed milestones in their respective artists’ oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks “Cold” – a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited “industrial feel” and the epic “Colder Still”, easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century “Soliloquy for Lilith”, TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike.

Atmosphere, die vielen als eines der beständigsten und produktivsten Duos im Independent-Hip-Hop gelten, erreichten zwischen Juli 2007 und April 2008 einen selbst für ihre Verhältnisse außergewöhnlichen Output. Innerhalb dieser 9 Monate veröffentlichten sie ein komplettes Album, vier EPs und ein 42-minütiges Mixtape mit exklusivem Material, insgesamt 48 neue Songs, und das alles, während sie ständig auf Tournee waren. Diese rasante Veröffentlichungsreihe brachte einige ihrer bis dato populärsten Songs hervor und zeigte ihre dynamische Bandbreite, von stimmungsvoll und nachdenklich über fröhlich und optimistisch bis hin zu einem Boom-Bap-Rap-Stil, der auf dem Mixtape am deutlichsten zu hören war. Das am Weihnachtstag 2007 veröffentlichte Mixtape war ein "Geschenk" an die Fans in Form eines kostenlosen Downloads mit dem treffenden Titel „Strictly Leakage“ - eine Anspielung sowohl auf die Abkehr von den standardisierten Praktiken der Industrie zugunsten des Verschenkens der Musik als auch auf einen anderen prominenten Albumtitel aus der Ära. „Strictly Leakage“ überraschte Fans und Kritiker gleichermaßen, nicht nur, weil die Einladung zum Download ohne Vorwarnung im Posteingang auftauchte, sondern auch, weil das Projekt so einzigartig anders klang als die typischen Aufnahmen von Atmosphere. Ant griff tief in die Funk- und Soulkiste, zog Samples der Live-Instrumentierung vor und produzierte Tracks, die klangen, als seien sie neben Hip-Hop-Klassikern der späten 80er und frühen 90er Jahre entstanden. Slug rappte mit neuer Leidenschaft und klang dabei irgendwie lässiger und unbekümmerter und lieferte endlose Wortspiele mit technischeren Reimschemata als bei anderen Atmosphere-Veröffentlichungen. Gemeinsam schufen sie 13 exklusive Songs, die so klangen, als hätten sie einfach nur Spaß daran, sie zu machen, ohne den Druck irgendwelcher Album-Erwartungen - zweifellos eine ebenso lohnende Übung für sie selbst wie für die Hörer. Zu Beginn wurde „Strictly Leakage“ in einer limitierten Auflage auf Vinyl und CD gepresst, aber es dauerte nicht lange, bis sie ausverkauft waren und die Fans sich auf die Jagd nach Streams und digitalen Dateien machen mussten, um das Projekt zu hören. Nun ist „Strictly Leakage“ auf Vinyl-LP und CD zurück und wird für den Handel verfügbar gemacht, damit Hip-Hop Fans überall dieses einzigartige Kapitel in der Geschichte von Atmosphere besitzen und schätzen können.

Dimi Angelis is coming bright-eyed and bushy-tailed with his 3rd appearance on Tar Hallow, bringing 4 intense, hard tracks

DIMI ANGELIS INCUBUS TAR022

The guitar virtuoso's new album is a self-confident statement that consolidates his position as a blues rock veteran. Greene: "I wanted to make an album that sounds like it was recorded in the early 70s." This approach also means that he kept his songs, rooted in the blues and southern rock tradition, rather short and sweet. It's a refreshing aspect that sets the new album apart from other contemporary blues-rock releases.

BOTANIST nehmen uns auf ihrem zwölften Album "Paleobotany" auf eine Reise mit, die 70 Millionen Jahre zurück in eine Zeit führt, in der Dinosaurier den Planeten beherrschten und die ersten Wälder zu Kohle wurden. Bevor der apokalyptische Einschlag des Chicxulub-Asteroiden das Zeitalter der Giganten in Flammen untergehen ließ, wuchsen auch viele Pflanzen, deren Artenfamilien auch heute noch Nachkommen haben, zu erstaunlichen Größen heran. "Paleobotany" kommt mit all jenen Markenzeichen daher, die BOTANIST aus der Masse aller Metal-Acts auf diesem Planeten hervorheben. Lyrisch dreht sich bei der Band aus San Francisco, Kalifornien alles um Pflanzen - ein klarer Bruch mit den üblichen Genre-Klischees wie Satan, Drachen und Bier. Ihre Musik ist einerseits deutlich im "Metal" verankert, doch statt 6-saitiger Gitarren verwenden die Amerikaner 110-saitige Hackbretter. Zur Verwirrung aller Traditionalisten statten BOTANIST die perkussiven Saiteninstrumente aus der Folklore mit magnetischen Tonabnehmern aus und verzerren sie mit verschiedenen Mitteln, die von Verstärkern über analoges Tonband bis hin zu digitaler Manipulation reichen. Der daraus resultierende Sound ist ebenso einzigartig wie spektakulär. Die kontinuierliche klangliche Entwicklung von BOTANIST begann an einem hörbar vom nordischen Black Metal geprägten Ausgangspunkt. Die Band entwickelte aber bald einen offeneren, avantgardistischeren Stil, der zu einer wachsenden Komplexität führte. Auf "Paleobotany" haben die Kalifornier einige der verschlungenen progressiven Elemente zugunsten songorientierterer Arrangements wieder abgelegt, die dennoch weiterhin detailreich bleiben und voller Überraschungen stecken. Dies wird dadurch verstärkt, dass das Album vom renommierten schwedischen Produzenten Fredrik Nordström (DIMMU BORGIR, OPETH, AT THE GATES) im Studio Fredman abgemischt wurde. BOTANIST bleiben eine einzigartige Band. "Paleobotany" erweitert die dunkelgrüne Klangpalette ihres Avantgarde-Metal-Sounds zu einem zugänglicheren und dynamischeren Klangerlebnis. Pflanzen bevölkerten schon weit vor den vierbeinige Giganten die Erde - und sie werden immer noch wachsen, wenn die Menschheit längst wieder zu Sternenstaub zerfallen ist. BOTANIST gewinnen ihre musikalische Zukunft, indem sie mit "Paleobotany" Millionen von Jahren in die Vergangenheit reisen!

The Avett Brothers kündigen ihr erstes selbstbetiteltes Album an, mit dem ersten neuen Material seit vier Jahren. Produziert wurde das Album von Rick Rubin.

The Avett Brothers, die bereits für drei GRAMMY Awards nominiert wurden, sind in ihrer Karriere in zahlreichen US TV Shows aufgetreten, wurden mit fünf Americana Music Awards ausgezeichnet, haben allein in den USA mehr als 2,5 Millionen Alben verkauft und zählen zu den bekanntesten aktuellen Bands im Folk Rock.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

This deluxe edition has two colored discs. The bonus disc includeds the original album demos. Remastered for this 10th anniversary edition. The Growlers are back with a new album of sunburned, psychedelic beach goth! Since 2010 s Hot Tropics, the band has toured relentlessly, including Coachella, Lollapalooza, and even Rock In Rio but they continue to stay true to their roots with a distinctly DIY approach. Their songwriting is in top form, and this lo-fi garage band delivers some seriously catchy tunes. Review A spazzed-out, hopped-up, sweaty set of pure fun. --L.A. Weekly Their retro vibe isn t fetishized nostalgia it s dumpster-diving freegan collage: pitchy organ and plunky, country-western bass are punctuated by faux-dub echoes that hang like tapestries in a chill-bro den. --Spin This brilliant work showcases The Growlers in their fullest stride, like fancy new boots that make you feel mature and confident. --LA Record

Hung At Heart by Growlers, released 17 May 2024, includes the following tracks: "Salt On A Slug", "No Need For Eyes", "Pet Shop Eyes", "Burden Of The Captain" and more.

This version of Hung At Heart comes as a 2xLP.

This deluxe edition has two colored discs. The bonus disc includeds the original album demos. Remastered for this 10th anniversary edition. The Growlers are back with a new album of sunburned, psychedelic beach goth! Since 2010 s Hot Tropics, the band has toured relentlessly, including Coachella, Lollapalooza, and even Rock In Rio but they continue to stay true to their roots with a distinctly DIY approach. Their songwriting is in top form, and this lo-fi garage band delivers some seriously catchy tunes. Review A spazzed-out, hopped-up, sweaty set of pure fun. --L.A. Weekly Their retro vibe isn t fetishized nostalgia it s dumpster-diving freegan collage: pitchy organ and plunky, country-western bass are punctuated by faux-dub echoes that hang like tapestries in a chill-bro den. --Spin This brilliant work showcases The Growlers in their fullest stride, like fancy new boots that make you feel mature and confident. --LA Record

Hung At Heart by Growlers, released 17 May 2024, includes the following tracks: "Salt On A Slug", "No Need For Eyes", "Pet Shop Eyes", "Burden Of The Captain" and more.

This version of Hung At Heart comes as a 2xLP.

"Miranda Winters, as the voice of Chicago’s much-loved noisemakers Melkbelly, has spent the past few years happily in her own shadow. While she has quietly written and occasionally released her own music for 15 years, Winters finally steps out into the bright light with the release of Lawn Girl, the debut album under her Mandy moniker.

The album, a combination of older songs and newer creations, feels positively and endearingly alive–like a freeing of pent-up energy, an intimate rebuilding of the self. While Winters recorded and produced a number of the songs herself, she worked with Taylor Hales at Electrical Audio to feed those songs back into the studio, where they were re-recorded with room mics and worked back into the original versions. “I see it like photocopying,” she says of the process. “I’ve always loved working with photocopying and related printing techniques in my visual art because of the way everything decays and falls apart. It was nice to honor that on the record.”

Performed by an all-women band–Linda Sherman (guitar), Lizz Smith (bass) and Wendy Zeldin (drums)–the songs on Lawn Girl suitably find Winters ruminating on the idea of femininity; about her mom (who graces the album cover) and being a mother herself; her female friends; and what it means and what is required to make art and music in a female space intentionally."

"Joell Ortiz & KXNG Crooked met the year they both won XXL's coveted Freshmen of the Year Award. The two's careers are as legendary as any in the rap game. Joell Ortiz started by signing to Dr. Dre's Aftermath label, then moving to Shady records as part of the Super group Slaughterhouse with Joe Budden, Royce Da 5'9 and KXNG Crooked. Add to that a fresh feature on Eminem's newest album "Music To Be Murdered By."

Meanwhile, KXNG Crooked was signed to Virgin Records at just 17 before joining Death Row Records. He's had a flourishing solo career including collaborations along the way with TechN9ne, 2Pac, Benny The Butcher, Raekwon, Akon, Ray J and more. The West Coast LBC representer KXNG Crooked and Brooklyn's Joell Ortiz have finally come together for the the joint project "H.A.R.D." on Mello Music Group.

Album produced by HEATMAKERZ, ERICK SERMON, BOOGEYMAN, ILLMIND, APOLLO BROWN, J.U.S.T.I.C.E. LEAGUE

This special edition vinyl features the 24 for '24 Artist Series painting by KipDaFog."

Soft rock"s seminal band, The Blue Jean Committee, originated from blue-collar Chicago when the now legendary Clark Honus (Bill Hader) and Gene Allen (Fred Armisen) dropped out of sausage school to create the band of their dreams. With the help of famed music manager Alvin Izoff, the band reinvented their hard Chicago-blues image to instead transcend the laid-back essence of California. After studying bands like The Beach Boys, The Blue Jean Committee as able to find their signature sound and rise to the top of music charts. Despite Chicago"s resistance to their "vegetarian" facade and "hippy" vibe, the band became known for creating the quintessential California album. Their debut album, Catalina Breeze, spawned six consecutive hit singles for the band and for a moment it seemed like they would be a long-term fixture on the American musical landscape. However, some relationships are more complicated than they appear on the surface, and nowhere did this ring more true than for Gene Allen and Clark Honus, as their infamous on-stage fight at the Hollywood Bowl Animal Rights Now Benefit and subsequent break-up has since become the stuff of legend. Fans of the "Chicago band with the California sound" can celebrate once more! After over 30 years apart, Gene and Clark were recently reunited for their induction into the Hall of Fame in April 2015.

Donny McCaslin is an artist consistently at the forefront of musical innovation. Building on the foundation laid by his critically acclaimed 2023 album "I Want More," described by Mojo Magazine as an "emotive electro-jazz" masterpiece and celebrated for its adventurous spirit by De Volkskrant, Donny McCaslin continues to chart new territories in sound with his latest 7in vinyl and digital release, "Kid." This new project, encompassing the tracks "Kid" and "Maxine," which not only encapsulates the direct, bold, and charismatic essence of McCaslin's sound but also signals his relentless pursuit of artistic growth, refusing to rest on the laurels of past achievements.

"Kid" is a testament to the fruitful collaboration between McCaslin and Tim Lefebvre, reflecting a deepening of their artistic development as collaborators, writers, and bandmates. This instrumental track, enriched by David Fridmann's visionary production, explores the complexities of musical narrative through its intricate harmony and dynamic saxophone lines. The bass subs introducing an electronic vibe into the track signify the duo's forward-thinking approach, blending genres and sounds into a cohesive whole. The saxophone, treated with effects of delays and reverb, veers away from traditional jazz solos, creating textures that support an overarching sound world, inviting listeners to immerse themselves in the music rather than focusing on individual performances. "Maxine", on the other hand, presents a more introspective journey. Originating from a track sent by Colby Keyz, McCaslin develops this piece into a poignant love song, layered with saxophone melodies and solos that evoke a deep sense of longing and emotional depth.

The production, handled masterfully by Steve Wall, enhances the track's unique sounds, demonstrating McCaslin's ability to create profound musical experiences even in the absence of live band interaction. Together, "Kid" and "Maxine" highlight McCaslin's virtuosity and innovation as a musician. His commitment to evolving his sound and the depth of his collaborations exemplify why he remains a progressive force in the music world. With "Kid", Donny McCaslin reaffirms his position as an artist unafraid to explore, develop, and redefine the boundaries of contemporary music, making this release an essential addition to the collections of aficionados and newcomers alike.