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Immer schon war William Fitzsimmons auch ein hervorragender Interpret fremden Materials. Auf seinen Konzerten covert er gerne Songs seiner Helden wie Bob Dylan, Björk oder Kanye West. Einmal auf seine persönliche Musikgeschichte zurückzublicken und einige seiner Lieblingssongs für ein ganzes Album zu interpretieren, war da der nächste logische Schritt. Seine zärtlich hingetupfte, wehmütig-elegische Version des Joy-Division-Klassikers 'Love Will Tears Us Apart‘ schreibt dem eher düsteren Original ein hoffnungsvolles Element ein, 'Annie’s Song' von John Denver wird bei Fitzsimmons zur anmutigen Meditation, Peter Gabriels 'Solsbury Hill' zum intim berückenden Kammerspiel. Bereits an diesen Beispielen lässt sich das beeindruckend breite Spektrum des Albums ablesen, das zudem Songs von Künstler:innen wie Sarah Siskind, Chelsea Cutler, Sufjan Stevens und Iron & Wine enthält. 'Diese Vielstimmigkeit war mir wichtig', sagt Fitzsimmons. 'Ansonsten gab es eigentlich keine Regeln. Das sind alles Songs, die ich liebe. Die Bedeutung der Songs für mich persönlich war mir wichtiger als ihre Popularität. Ich habe allerdings bewusst darauf verzichtet, allzu offensichtliche Heldinnen und Helden wie Joni Mitchell und Bob Dylan zu covern.' Die Songs auf 'Covers, Vol. 1' kommen aus verschiedensten Ländern, Genres, Epochen und haben unterschiedliche Bekanntheitsgrade. Bei Fitzsimmons aber werden sie alle eins, es ist eine Anverwandlung der denkbar wunderbarsten Art. Erfüllt von der Liebe zu den Originalen, aber versehen mit der einmaligen Signatur dieses besonderen Künstlers. Die Geschichten, die William ganz konkret mit diesen Songs verbinden, sind so vielfältig wie die Musik selbst.

Was vor rund einem halben Jahrhundert mit Straßenmusik irgendwo in der spanischen Provinz begann, das
hat sich längst zum weltweiten Kult entwickelt.
Nachdem die Kellys mit den beiden Top 1-Alben „We Got Love“ (2017, 5-fach Gold) und „25 Years Later“
(2019) vor wenigen Jahren ihre triumphale Rückkehr ins Rampenlicht feiern konnten, schlagen Kathy, Patricia, Jimmy, Joey, John und Paul nun mit ihrem kommenden Longplayer „Christmas Party“ (04.11.) das
nächste Kapitel in der Geschichte der Kelly Family auf. Das erste Weihnachtsalbum seit 1994! Das Album
wird 16 Tracks enthalten: Neue Kelly Weihnachtssongs, traditionelle Weihnachtslieder und natürlich auch
ein paar Kelly Klassiker neu aufgenommen und modern arrangiert! Das perfekte Weihnachtsalbum für
die ganze Familie. Mit den beiden selbst geschriebenen Singles „Peace On Earth“ und „Those Were The
Days“ haben die Kellys in den letzten Monaten bereits zwei stimmungsvolle Vorboten ihres neuen Albums
veröffentlicht. Als drittes Outtake erscheint am 21.10. „Grateful“ gemeinsam mit Musiker-Legende Ronan
Keating, mit dem die Kelly Family ihrem Publikum positive Gedanken in einer besonderen Zeit schenken
möchte. ”‘Grateful‘ heißt ‘dankbar‘ - wir wollen damit das in den Fokus stellen, was wir haben. Nicht das,
was uns fehlt. Erst, wenn man anfängt über Dankbarkeit nachzudenken, wird einem richtig bewusst, was
man eigentlich hat im Leben.” (Patricia Kelly)

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

On August 26th Gwilym Gold releases his third album, Blue Garden, on SA Recordings. Alongside the record we are pitching the beautiful Blue Garden. Gwilym began playing improvised music as a pianist and may be fondly remembered as the singer and keyboardist in psychedelic pop trio Golden Silvers but has since worked widely as a soloist. 2012 saw the release of his high-concept solo piece Tender Metal which was composed and released using Bronze; a new music technology which Gold created with producer Lexxx alongside Mick Grierson. Using Bronze, a song is enabled to rebuild itself on each playback from the musical seeds and ground sown by the writer. Music composed with Bronze is not restricted to just one playback possibility, it is a dynamic, ever-transforming representation of itself where the artist builds a new model as part of each song’s writing process. Gwilym has since collaborated with artists such as Arca, Jai Paul, Philippe Parreno and Nicolas Becker, introducing them to this new technology. One of the hopes for Bronze is that it brings some of the characteristics of performance back into previously inert musical documents, and alongside his work with Bronze, Gwilym has maintained a wide performance practice. Performing recently alongside musicians such as Dave Okumu, Tom Skinner and Lucinda Chua and collaborating with artists Eddie Peake and Holly Blakey. His two recent collections of songs, A Paradise and Sky Blue Room, stem from this, the second being recorded almost entirely live in three days alongside Okumu and drummer Dan See. Blue Garden is Gwilym’s first collection written and recorded entirely in solitude and he hoped to unburden the process of anything beyond the most primary elements. Setting up a sort of hybrid harp in a small isolated room, the aim was to let the songs flow out unadorned and record them as they were. The only addition to the album is the accompanying sound of rivers and birdsong by sound recordist and founding member of Cabaret Voltaire, Chris Watson. Gwilym started to play the new album alongside Watson’s recording ‘The Drinking Boy’ which led him to reach out to Watson. Gwilym explains “I played it to a friend once I had recorded it with Chris’ field recordings, they said it almost sounded like the quarantine birds, there was a feeling of it being a little sanctuary”. The songs on Blue Garden were written during a bittersweet time, where Gold was experiencing moments of love, loss and rebirth. The album is a loose and abstract exploration of love in all its forms, how familial, platonic and romantic love are all intertwined.

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

500 copies on limited purple vinyl

By The Sea come from the lineage of firework pop, bursts of colour and squeeze-your-hand intense love aligned with grey skies & work things.
Recall the first time you heard The Chills’ ‘Pink Frost’ or Television Personalities’ How I Learned To Live The Bomb’?
That’s the encounter.

Liam Power formed By The Sea in 2011, the band’s debut single Waltz Away coming out on The Great Pop Supplement label that year. In November 2012 the band released their self-titled album through Dell’Orso and GPS. The NME noted how there was “a beautifully bruised element to this Wirral act’s debut from the subdued, morbid production to Liam Power’s heroically battle-weary vocals”.

They have also often been tagged for their kitchen-sink dramas though they’re more akin to something like ‘Wish You Were Here’, both funny and dark without being maudlin. There’s an end of pier melancholy to By The Sea records though, something more than a scribble of sentiment on a souvenir postcard.

For their second LP ‘Endless Days, Crystal Skies the band turned over production duties to their friend Bill Ryder-Jones (formerly of The Coral) and released that bounty of melodic pop in 2014. It’s a partnership they have retained for the new third album ‘Heaven Knows Magnolia’ released on limited purple vinyl, CD and digital formats on October 21st. The song

Ohne die Möglichkeit, live aufzutreten und auch privat von den vielen Einschränkungen betroffen, verlagerte sich der Fokus von DISILLUSION in den letzten zwei Jahren voll und ganz auf die Band sowie auf die Aufnahme ihres vierten Albums "Ayam". Der Effekt ist hörbar: "Ayam" klingt tiefer, noch vielschichtiger und ausgereifter als seine hochgelobten Vorgängeralben. Der Detailreichtum in der Musik der deutschen Avantgardisten ist jedoch nie ein bloßer Selbstzweck, sondern die Komplexität dient immer dem Song und dem "Malen" von Bildern für das große Kopfkino. Während DISILLUSION enger zusammenrückten, kamen auch alte Gewohnheiten auf den Prüfstand. Um etwas Neues auszuprobieren, überließ die Band den Mix ihres neuen Albums erstmals anderen Händen und Ohren als den eigenen. Die Wahl fiel auf den renommierten Produzenten Jens Bogren (OPETH, KATATONIA, MOONSPELL), was sich einmal mehr als wahrer Glücksgriff entpuppte. Die geradezu magische Fähigkeit des Schweden, die Eigenheiten einer Band deutlich herauszuarbeiten, verlieh DISILLUSIONs ohnehin schon einzigartigen Sound einen hörbaren Feinschliff. So wurde beispielsweise der Gesang in ein klangliches Rampenlicht gestellt. DISILLUSION gründeten sich im Jahr 1994 in Zwickau um Sänger und Gitarrist Andy Schmidt herum. Die Ostdeutschen schafften das seltene Kunststück, sich bereits mit der Veröffentlichung ihres Debütalbums "Back to Times of Splendor" im Jahr 2004 einen exzellenten Namen im Bereich des progressiven Melodic Death Metal zu erwerben. Mit dem folgenden Langspieler "Gloria" (2006) gelang der Band ein Quantensprung und eine rasante Evolution in mehrere Richtungen gleichzeitig. Als zuletzt "The Liberation" im Jahr 2019 erschien, beschrieben Kritiker das Album als logische Fortsetzung von "Back to Times of Splendor". In den Songs spiegelten sich 15 Jahre zusätzliche Erfahrung in Andy Schmidts musikalischer Entwicklung wider. "The Liberation" kombinierte die besten Qualitäten von DISILLUSION: Das perfekte Zusammenspiel von massivem Metal verschmolz mit Momenten purer Euphorie aber auch ruhiger Introspektion, die eine klangliche Achterbahnfahrt voller leidenschaftlicher Emotionen erzeugte. Mit "Ayam" segeln DISILLUSION erneut zwischen den Sternen zu neuen Konstellationen der harten Gitarrensounds. Dabei bleiben die deutschen Avantgarde-Pioniere ihrem generellen Kurs treu, werfen aber auch immer wieder den Anker aus, um funkelnde neue Klangwelten zu erkunden. "Ayam" bietet eher eine aufregende Evolution als radikale Revolution. Dieses Album ist ein goldenes Ticket für die außergewöhnliche musikalische Reise des Lebens. Kommt alle an Bord, Anker hoch und Leinen los!

'Transplant Rejection’ is the second in a trilogy of cassette albums released via Muscut in the latter half of 2022. The work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.



There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe. As part of that legacy, "Africa 5.000" (1975) has a legendary reputation as one of Discos Fuentes' best hard-to-find Afro Caribbean funk records and is a highly prized collector's piece. This LP features several classic dance floor gems as well as some lesser-known nuggets and a non-album bonus cut, plus informative notes. "Africa 5.000" (1975) has a legendary reputation as one of Colombia's best hard-to-find Afro-funk records and is a highly prized collector's piece today. The epic 'La torta' ('The Cake') kicks things off with a lively Colombian interpretation of Haitian compas. The tune is still remembered as a big picó (amplified sound system) hit at the verbenas (outdoor dance parties). 'Fiebre de lepra' ('Leprosy Fever') was also released as a 45 single and is certainly one of Wganda Kenya's wilder tracks. Funky wah-wah guitar, makossa style bass, manic organ, and feverishly insane vocals (from Wilson "Saoko" Manyoma and Joe Arroyo) indicate that Fruko and his pals were having a ball goofing around in the studio. If for no other reason, "Africa 5.000" is sought after for being the album containing Fruko and Javier García's outrageously funky and off-kilter 'Tifit hayed', which has become a tropical dance floor favorite in recent years. Again the "kitchen sink" approach is employed, including massive Latin bass lines, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, and plenty of humorous vocal sound effects (including animal noises and lip burbling). However, it's the stomping break beats and cowbell counterpoint that has kept dance floors busy. Side B leaps out of the speakers with the heavy, strutting 'El caterete', which was the flip side to the 'Fiebre de lepra' single and is based on the 1970 song 'Cateretê' by Brazilian singer/songwriter Marku Ribas. Like its sibling Fuentes studio band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe, and this reissue of "Africa 5.000" will only serve to further cement the band's growing reputation amongst today's diggers of tropical psychedelia. First time reissue.

Sweet Billy Pilgrim sind heute die beiden Multiinstrumentalisten Jana Carpenter und Tim Elsenburg, deren Geschichte u.a. eine Mercury Music Prize-Nominierung, die Royal Albert Hall und das Glastonbury Festival umfasst. Mit 'Somapolis' veröffentlichen Sweet Billy Pilgrim ihr per Crowdfunding finanziertes, sechstes Album. Losgelöst von traditioneller Bandbesetzung und in Zusammenarbeit mit einer handverlesenen Gruppe talentierter Kollaborateure verbindet die Band ihre Avant-Pop-Instinkte (Prefab Sprout, Steely Dan) mit der Liebe zu Prince, der Faszination für die gefühlvolle Electronica von Jon Hopkins und ihren Entdeckungen bei der Erkundung der tiefen Frequenzen im modernen R&B.

Sweet Billy Pilgrim sind heute die beiden Multiinstrumentalisten Jana Carpenter und Tim Elsenburg, deren Geschichte u.a. eine Mercury Music Prize-Nominierung, die Royal Albert Hall und das Glastonbury Festival umfasst. Mit 'Somapolis' veröffentlichen Sweet Billy Pilgrim ihr per Crowdfunding finanziertes, sechstes Album. Losgelöst von traditioneller Bandbesetzung und in Zusammenarbeit mit einer handverlesenen Gruppe talentierter Kollaborateure verbindet die Band ihre Avant-Pop-Instinkte (Prefab Sprout, Steely Dan) mit der Liebe zu Prince, der Faszination für die gefühlvolle Electronica von Jon Hopkins und ihren Entdeckungen bei der Erkundung der tiefen Frequenzen im modernen R&B.

Lücken in der Plattensammlung? Du hast Glück! Wir freuen uns sehr, limitierte Neuauflagen von zwei essentiellen Alben von Anna von Hausswolff präsentieren zu können. Das 2015er Album The MIraculous und das 2018er Meisterwerk Dead Magic. Beide Alben werden in limitierter Auflage auf farbigem Vinyl neu aufgelegt!

Das neue Spoon Remix-Album "Lucifer on the Moon" ist das schwerkraftlose Pendant zu "Lucifer on the Sofa". Das zehnte Album der Band aus Austin wurde von Grund auf überarbeitet und von On-U Sound-Gründer und UK-Dub-Ikone Adrian Sherwood neu interpretiert. "Lucifer on the Moon" nahm zunächst in Form von ein paar Remixen für die Singles des aktuellen Spoon-Albums Gestalt an. Frontmann Britt Daniel gab Sherwood zwei Empfehlungen: "Vermeide Dinge, die auf Band nicht möglich wären" und "Füge hinzu, was immer du möchtest, je weniger modern, desto besser." Die Zusammenarbeit sollte nicht überraschen: Die Dub-inspirierte Produktion zieht sich durch Spoons klassische Tracks, von "Finer Feelings" bis "Inside Out". Sherwood ist ein bewährter Kollaborateur, der bereits mit Lebenslauf Partnerschaften mit bedeutenden Künstlern wie The Fall, Jah Wobble und Mark Stewart enthält. Die ersten Ergebnisse gefielen beiden Parteien und Sherwood wurde beauftragt, an weiteren Songs zu arbeiten - und dann an noch ein paar mehr. "Ich fand Gefallen an der Melodie und den Gedanken, die sie in mir auslöste", erklärt der Produzent. "Es hat sich einfach weiterentwickelt und wir hatten schließlich ein ganzes Album." "Lucifer on the Moon" stellt die Rhythmusspuren des Originals auf den Kopf und baut sie oft komplett neu um. Sherwood lieferte eine umfangreiche zusätzliche Instrumentierung über die erweiterte Familie der On-U-Session-Spieler, einschließlich des Bassisten Doug Wimbish und des Schlagzeugers Keith LeBlanc (beide spielten in den frühen 80er Jahren in der Studioband von Sugarhill Records). Er grub sich tief in die Multitracks des Albums ein und förderte vergessene Details und Elemente zutage, die in den endgültigen Album-Mixen nicht enthalten waren. Das Ergebnis hebt Spoons Signature-Sound in ein fremdes Terrain, vollgepackt mit Echos und grollenden Bässen. "Es war nicht nur eine Sache, bei der man dies und jenes auseinandernimmt, auf dem Raster bleibt und ein Delay hinzufügt", erklärt Daniel. "Er fügte den Tracks so viel mehr an Instrumenten hinzu, dass sie zu komplett anderen Versionen der Songs wurden. Nicht nur Remixe, sondern ergänzende Stücke - quasi ein Spin-Off des Albums." "Lucifer on the Sofa" wurde im Februar 2022 veröffentlicht und ist Spoons bisher rockigstes Album.

Drive at Night wurde 2021 von den beiden langjährigen Freunden und Bandkollegen Joachim Nordlund und Johan Lindstedt von Astral Doors und SunStrike gegründet. Da beide den melodischen Rock aus den 80er Jahren lieben, war es nicht schwer zu entscheiden, welche Richtung sie mit ihrer Musik einschlagen sollten. Im Jahr 2021 wurden 12 Songs in Joachims Studio in Borlänge, Schweden, geschrieben und aufgenommen und produziert. Drive At Night folgen der Tradition der großen skandinavischen Melodic Rock Bands und bieten tolle Melodien, riesige Keyboard-Sounds und Sing-a-Long-Refrains. Später im Jahr folgt die Vinylveröffentlichung.Für Fans von Treat, Europe, Madison oder Eclipse.

With Canne à sucre, the Parisian Hip-Hop/beats producer delivers his 5th album. This new project maintains a strong presence in Hip-Hop while being inspired by traditional Caribbean music such as Gwoka and Bèlè.

As Valet started his musical career in 2007 with his group Electric Conversation. As a solo artist, he has worked with japanese imprint Moamoo and released electronica / deep-house record for London based Futuristica Music imprint. After A.k.w.a and Inner Journey, Canne à sucre marks the 3rd collaboration between As Valet and a night on canopy.

With each new release, As Valet offers us a new experience, drawing both from its Caribbean roots and personal influences, forming its own golden triangle : New York, LA, Fort-de-France.

Red Vinyl

Das erste Album des britischen Produzenten und Songwriters seit "Rennen" von 2017 wird am 4. November 2022 auf Vinyl und CD veröffentlicht. Nachdem er zuvor längere Zeit in Wien und Los Angeles gelebt hat, wohnt der in London geborene SOHN nun in den Pinienwäldern von Katalonien, Spanien, und es ist diese neue Umgebung, die ihn zur aktuellen Single "Segre" inspiriert hat. "Trust" markiert für den Solokünstler eine seismische Verschiebung in der Wahrnehmung und Ausrichtung und spiegelt SOHNs neue Verantwortung als Vater von drei Kindern wider. Der Umzug von Los Angeles in die Ruhe Kataloniens und die Erfahrung der Elternschaft veränderten seine Einstellung und auch seine Arbeitsweise: "Ich spürte eine Offenheit, die ich vorher nicht kannte, und mir wurde klar, dass ich es nicht mehr allein schaffen konnte - mir fehlten Gemeinschaft und Freundschaft im Leben und im kreativen Prozess", sagt SOHN. Zum ersten Mal in seiner jahrzehntelangen Karriere lud der Produzent andere ein, ihm bei der Verwirklichung eines neuen Albums zu helfen, und kehrte nach LA zurück (wo er "Rennen" aufgenommen hatte), um mit Yakob, Mike Sonier, Chris Tabron, Jesse Boykins III, Ryan Linvill, Noah Le Gros und Emile Mosseri zu arbeiten. Gemeinschaft, Intimität, Familie und Offenheit sind die Schlüsselthemen auf "Trust", wenn der britische Produzent über sein vergangenes Leben (Wien in 'Figureskating, Neusiedlersee') und seine gegenwärtige Realität ('Montardit', 'Segre') reflektiert. Indem er seinen kreativen Prozess für andere öffnet, lädt Toph Taylor den Hörer dazu ein, sein bisher intimstes und persönlichstes Werk zu erleben. "Auf dem Debütalbum "Tremors" war es so, als wäre ich hinter Glas, aber auf "Trust" fühlt es sich an, als könnte man in diesem Raum sitzen, und nicht nur alleine, man sitzt mit mir, einigen Musikern, einigen Freunden in einem Zimmer."

Das fünfte Turnover Album Myself In The Way. Der Titelsong kommt mit Gastgesang von Brendan Yates von Turnstile. Myself In The Way entstand aus dem Wunsch von Turnover, ihren Sound weiterzuentwickeln, wobei jedes Werk experimenteller ist als das vorherige. Aber es ist auch ein Nebenprodukt des Wachstums der Band, sowohl als Individuen als auch als Kollektiv. Ausgestattet mit einer Fülle neuer Möglichkeiten, sich kreativ auszudrücken, hat sich die Band der Herausforderung gestellt, ihr bisher ehrgeizigstes Werk zu schaffen. Myself In The Way wurde von Frontmann Austin Getz zusammen mit Will Yip produziert und klingt weitläufiger als alles, was die Band bisher gemacht hat, wobei sie diesmal besonders auf das Sounddesign geachtet haben. Bassist Danny Dempsey hat das Cover-Artwork selbst gemalt, und der langjährige Tour-Gitarrist Nick Rayfield hat einige Songs beigesteuert, um dem Album zusätzlichen Schwung zu verleihen. Das Album enthält auch Gastauftritte von Kollegen und Freunden wie Bre Morell von der in Austin ansässigen Band Temple of Angels auf dem Track Ain't Love Heavy und Brendan Yates von Turnstile auf dem Titeltrack. 2019 veröffentlichten Turnover ihr viertes Studioalbum Altogether das als "ihr bisher schrägstes und zugänglichstes" bezeichnet wurde und die herausragenden Tracks Plant Sugar und Much After Feeling enthält. 2017 wurde ihr gefeiertes Album Good Nature veröffentlicht, das den Hit Super Natural enthält.

Das fünfte Turnover Album Myself In The Way. Der Titelsong kommt mit Gastgesang von Brendan Yates von Turnstile. Myself In The Way entstand aus dem Wunsch von Turnover, ihren Sound weiterzuentwickeln, wobei jedes Werk experimenteller ist als das vorherige. Aber es ist auch ein Nebenprodukt des Wachstums der Band, sowohl als Individuen als auch als Kollektiv. Ausgestattet mit einer Fülle neuer Möglichkeiten, sich kreativ auszudrücken, hat sich die Band der Herausforderung gestellt, ihr bisher ehrgeizigstes Werk zu schaffen. Myself In The Way wurde von Frontmann Austin Getz zusammen mit Will Yip produziert und klingt weitläufiger als alles, was die Band bisher gemacht hat, wobei sie diesmal besonders auf das Sounddesign geachtet haben. Bassist Danny Dempsey hat das Cover-Artwork selbst gemalt, und der langjährige Tour-Gitarrist Nick Rayfield hat einige Songs beigesteuert, um dem Album zusätzlichen Schwung zu verleihen. Das Album enthält auch Gastauftritte von Kollegen und Freunden wie Bre Morell von der in Austin ansässigen Band Temple of Angels auf dem Track Ain't Love Heavy und Brendan Yates von Turnstile auf dem Titeltrack. 2019 veröffentlichten Turnover ihr viertes Studioalbum Altogether das als "ihr bisher schrägstes und zugänglichstes" bezeichnet wurde und die herausragenden Tracks Plant Sugar und Much After Feeling enthält. 2017 wurde ihr gefeiertes Album Good Nature veröffentlicht, das den Hit Super Natural enthält.

Sie kö nnten es sich wesentlich einfacher machen, gerade in
ihrem Alter. Etwas spielen, das die Leute mit ihnen identifi -
zieren. Doch wer die beiden kennt, der weiß, dass sie
zeitlebens das Abenteuer Musik niemals von der sicheren
Seite her angingen. Also ließen sich Carter und Galliano
zum zweiten Mal nach 1990 auf das Wagnis einer interkontinentalen Kollaboration ein. „Glaub mir, es gibt nichts Wahrhaftigeres als mit einem Zocker auf die Bü hne zu gehen“,
schwä rmt Carter von der aufgefrischten Liaison mit seinem
gallischen Kumpel.

Mit modernster Produktion schlägt We Got Love eine musikalische Brücke zwischen Kelly Klassikern wie
„An Angel“, „Fell in Love with an Alien“ oder „Why Why Why“, die jeder noch im Ohr hat, und neuen
Songs einer The Kelly Family wie man sie noch nie gehört hat. Neu arrangiert und neu aufgenommen
wissen The Kelly Family mit ihren Klassikern und neuen Songs auch 2017 Hysterie-Stürme auszulösen.
Die komplette Überarbeitung der Kelly-Hits war der Band ein Anliegen, dessen Prozess die Musiker auch
immer wieder selbst verblüfft hat: „‚An Angel’ zum Beispiel singt Angelo gemeinsam mit seiner 11-jährigen
Tochter Emma, die diesen Kelly-Klassiker als Special Guest absolut berührend singt. Ein Highlight! Neben
den neuen Klassikern und der Coverversion von „Stand By Me“, sind 4 weitere Neuaufnahmen auf We Got
Love zu hören. Darunter auch neue Kelly Eigenkompositionen: „‚Brothers and Sisters’ stammt von Patricia
und geht mir besonders unter die Haut“, verrät Joey. Vor dem Hintergrund, dass es tatsächlich ein kleines
Wunder ist, dass die Kelly-Geschwister sich musikalisch wiedergefunden haben, hätte auch „Miracles“, das
Duett von John und Kathy, der Name dieses Album werden können – aber für das kleine Wunder war eine
große Portion Liebe notwendig und so passt der Titel We Got Love am Ende perfekt.
2017 auf CD und nun endlich!!! kommt dieses großartige Album auf Doppel-LP im Gatefold und 180g
Vinyl daher. Mit 19 Titel + 2 Bonus-Songs ein absolutes Must Have für Vinyl-Liebhaber und Fans.

Mit seinem Debütalbum „Da komm‘ ich her“ hielt er sich sagenhafte 33 Wochen in den deutschen Charts
und beinah absurde 295 Wochen in den österreichischen. Über 315.000x ging das kometenhafte Debüt von
Andreas Gabalier physisch über die Ladentheke. Volksmusik und Rock‘n’Roll hatten scheinbar plötzlich im
Alpenvorland eine Fusion gefunden, die noch niemanden erahnen ließ, was daraus erwachsen würde. Nun
erscheint „Da komm‘ ich her“ als Neuauflage auf Vinyl. Längst hat das Debütalbum einer Karriere diesen
Ausmaßes Klassiker-Status verdient. Jetzt dreht es sich endlich auch auf einem Plattenteller in einem
Tonträgerformat wie es einem Andreas Gabalier und seiner Vision gerecht wird.
Auf 180 Gramm-Vinyl erscheint „Da komm‘ ich her“ als Neuauflage via Electrola im Vertrieb von Universal Music und legt den Grundstein einer ganzen Serie an analogen Neuveröffentlichungen die die ‚Volks
Rock’n’Roll“- Idee vollständig manifestieren.

Andreas Gabaliers zweites Album „Herzwerk“ war eben dies, es entsprang direkt aus seinem Herzen. Und
es wurde ihm gebührend gedankt. 10x Platin und beinahe eine Million abgesetzte Einheiten machten
dem Steyrer Arbeitstier klar, dass er die sprichwörtliche Nadel im Heuhaufen war. Gabalier hatte seine
Stimme gefunden und „Herzwerk“ beinhaltete einige Hits, die natürlich bis heute fester Bestandteil seiner
fulminanten Liveshows sind. Natürlich verdienen die Bergbauernbuam eine Reissue auf Vinyl, die nun auf
180 Gramm-Vinyl nun via Electrola/Universal erscheinen.

2013 legte Andreas Gabalier in rasanter Taktung sein viertes, bis dato erfolgreichstes Album „Home Sweet
Home“ vor, welches von einem Amadeus Award in der Kategorie „Volkstümliche Musik“ begleitet wurde.
Beinahe schon traditionell enterte es aus dem Stand in Österreich Platz eins der Charts und stand dem
in Deutschland und der Schweiz nur wenig nach. Weit über hundert Wochen hielt es sich in den Charts,
die dazugehörige Tour führte ihn durch die größten Hallen und fand einen sensationellen, hochemotionalen
Abschluss in Wien. „Home Sweet Home“ wird nun von seinem Label Electrola/Universal neu aufgelegt, in
einem Format, das die Heimat aller Musikformate darstellt: Vinyl. Hier als Doppel-Vinyl in 180g Qualität!
Als essentieller Bestandteil einer Serie seiner kompletten Album-Diskografie darf „Home Sweet Home“
natürlich nicht fehlen.

Mit seinen Erfolgsalben „Symphonie meines Lebens 1 & 2“ wurden Howard´s größte Hits gemeinsam
mit dem „Royal Philharmonic Orchestra“ neu inszeniert. Symphonischer Sound trifft auf kommerzielle
Arrangements. Aufgenommen wurden die Alben in den alt-ehrwürdigen Abbey Road Studios in London.
Die beiden Alben runden eine einzigartige Kariere ab und machen Howard Carpendale zu einer lebenden
Legende.
Waren die 2 Alben bisher auf Vinyl exklusiv nur in seiner im Dezember 2020 erschienen Lebenswerkbox
enthalten, sind diese nun erstmals separat erhältlich. In hochwertiger 180g Vinyl-Qualität und limitiert auf
1.000 Exemplare.

Deron Miller gives his life to the riff. Unrestrained by industry expectations and genre limitations, the boundlessly prolific guitarist and voice behind multiple beloved projects is best known as the founder, frontman, and songwriter in CKY. His authentic and effortlessly hooky heavy rock obsession returns with 96 BITTER BEINGS. Reinvigorated and ready to rumble all over again, Miller roars back with the same reverence for riffage that made underground hits out of CKY anthems like “Flesh Into Gear,” “Escape from Hellview,” and “Disengage the Simulator” from 1998 till 2011.

The familiar warmth, feel, groove, and unapologetic honesty which drove the song “96 Quite Bitter Beings” to 54 million streams (on Spotify alone) permeates the pair of albums unleashed by 96BB.

A successful crowdfunding campaign saw Miller, guitarist Kenneth Hunter, bassist Shaun Luera and Shaun’s brother, drummer Tim, conjure up 2018’s Camp Pain in limited release. North American and European touring followed, wrapping up shortly before the COVID-19 shutdowns.

“After CKY and a short break, I decided to continue, without changing the sound,” Miller explains. “Because that’s what I do. It’s what I love to do and what people say I do well. All of the guys who got in the band with me are great musicians. And each of them is hungry. They have priorities and ambitions about being in a rock band, no matter the grim state of pop music out there. If we can bring rock and metal back to the mainstream, in some way, that’s the dream.”

In 2022, 96 BITTER BEINGS unleash the long-awaited Synergy Restored, 11 songs of relentless power and vibe. Four-on-the-floor, fuzzy and visceral, proper rock n’ roll made by an actual band, rather than a bunch of overprocessed samples and otherwise stale shenanigans. Songs like “Vaudeville’s Revenge,” “90 Car Pile-Up,” and “Wish Me Dead” offer vivid reminders of the truth-telling prowess of guitars, bass, and drums. Miller is on fire, weaponizing the same knack for memorable musical epiphanies behind projects like Foreign Objects, World Under Blood, and CKY.
Miller co-founded Foreign Objects and later Camp Kill Yourself (a name born of his love of VHS slasher classics) in West Chester, Pennsylvania, in the ‘90s. Written by Miller, 1999’s Volume 1 appealed to metalheads, skaters, stoners, and punks. The album led to a stint on Warped Tour and a deal with Island Def Jam Music Group, which issued Infiltrate•Destroy•Rebuild• in 2002. Axl Rose chose CKY to support the ill-fated Chinese Democracy tour, and they also played with Metallica.
An Answer Can Be Found followed in 2005, producing the Billboard Mainstream Rock Top 40 single “Familiar Realm.” Extensive touring with Avenged Sevenfold and the like-minded Clutch followed. Carver City, in 2009, would prove to be Miller’s last album with the group he created and led. Across the four albums, Miller indulged his love of everything from ‘80s thrash metal to doom, as CKY blended high-octane ruckus with occasional bursts of Moog synths and cinematic storytelling.
Miller never stopped creating, with a handful of full albums written and released, a foray into horror movies, and parenting three children with his wife, scream queen actress Felissa Rose. Like Galactic Prey, the most recent Foreign Objects album, the 96BB records were recorded and produced by Miller and Hunter at Manifest Productions. Camp Pain was explicitly made for diehard fans who supported the creation of both albums through 96BB’s Indiegogo campaign. Synergy Restored was always intended for wider release, which it sees now via Nuclear Blast.
“I want my work taken seriously. I thank God every day that I was never overexposed, or even exposed enough commercially, to where I’m resigned to a specific moment,” Miller says. “I would rather have my self-respect, the respect of the audience, and a dedicated cult following.”

“Every time I go out, I see Nirvana, Metallica, and Misfits t-shirts. These kids may not know the music, but at least they are displaying a visual interest,” he adds. “Corporations spend millions of dollars promoting certain styles of music, but history proves that true rock will always sneak in.”

Learn To Let This Go acts as a diary of sorts, documenting the rare highs but more common lows of the last few years. It feels like trying to let go of pieces of the past while also being too afraid to face the future. Tracks such as ‘Peachy Keen, Avril Lavigne’ and ‘Crawl’ also address ongoing struggles, adding to the weight of trying to begin a new chapter in your life despite not knowing how to, whereas others, such as ‘Delightfully Devilish’ and ‘Calm Before The Storm’, try to shine a light through the pessimism that is rooted in most of The Losing Score’s catalogue. Combining the catchy instrumentation and massive singalong choruses of pop punk with emo's anxious lyricism about daily life and growing up, the album feels like a step up from previous releases, developing the band’s sound and confidently establishing the beginning of a new era for The Losing Score. Produced by Sam Bloor, Learn To Let This Go is the band's debut full length album and first release on Counter Intuitive Records.

Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments. Alternative Press hailed the band’s 2019 debut full-length, Letters To Our Former Selves , as one of the year’s very best, dubbing it the “ perfect blend of emo-tinged punk to soundtrack reflecting on every single life decision you’ve ever made ,” while North American tours with the likes of Free Throw, Can’tSwim, and Chris Farren cemented Youth Fountain’s sweat-soaked sound as something best experienced live – all while dodging a few stray elbows and overzealous crowd-surfers. Now once again, Zanon finds himself as a solo artist following the departure of co-vocalist Cody Muraro in mid-2020 – but this time, he’s exactly where he wants to be. Youth Fountain’s new release, Letters To Our Former Selves – Acoustic EP, re-introduces Zanon’s project to the world, reimagining fan favorite aterial from the 2019 LP of the same name.

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than what had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

GREY VINYL/GREY SLEEVE REPRESS.

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

Seit ihrem Durchbruch mit dem umjubelten Debütalbum Black Holes haben die Blue Stones mitreißende Live-Shows abgeliefert, die die Gesetze
der Physik außer Kraft setzen und allein durch die beiden Bandmitglieder einen unfassbar massiven Sound erzeugen.
Auf ihrem dritten Album Pretty Monster fängt das Duo das kontrollierte Chaos und die brennende Energie ihres Live-Sets zum ersten Mal vollständig
ein - und baut dabei auf dem starken Songwriting und dem klanglichen Einfallsreichtum auf, den sie auf Black Holes (eine Veröffentlichung aus dem
Jahr 2018, die ihnen eine JUNO-Award-Nominierung als "Breakthrough Group of the Year" einbrachte) und dem 2021 folgenden Hidden Gems (eine
JUNO-Nominierung als "Rock Album of the Year") gezeigt haben. Trotz des kolossalen Wachstums, das sie seit ihren Anfängen in den Spelunken ihrer
kleinen Heimatstadt erfahren haben, versprühen The Blue Stones in jedem Stück gleichermaßen ungebremste Leidenschaft und einen fröhlichen
Abenteuergeist.
Pretty Monster wurde hauptsächlich vom mehrfachen GRAMMY-Preisträger Joe Chiccarelli (The White Stripes, The Strokes, Spoon) produziert und
entstand in 35 aufeinanderfolgenden Aufnahmetagen in einem Studio in Kingston, Ontario. In dieser Zeit arbeiteten Sänger/Gitarrist Tarek Jafar und
Schlagzeuger/Backing-Sänger Justin Tessier unermüdlich daran, die rohe Vitalität der Demos des Albums zu bewahren und gleichzeitig jeden Song
mit so vielen unerwarteten Details zu versehen (düstere Beats, rastlose Grooves, elegant frenetische Texturen). Das Ergebnis ist ein triumphales
Werk, das sich von dem eher atmosphärischen Sound von Hidden Gems abhebt (ein weithin gelobtes Werk, das drei Top-5-Radiohits in Kanada
hervorbrachte) und die harte Dynamik des Rock'n'Roll mit den unauslöschlichen Ohrwürmern des Pop verbindet

From the moment that German producer, Fejká, burst onto the scene at the age of 17, he has captivated listeners with an unrivaled ability to sit comfortably at the intersection of expression and introspection. Where night and day, dreaming and dancing, the fast and the slow, might naturally diverge, he is able to balance them delicately, creating sounds which are, in the same moment, wonderfully ethereal, but also thrillingly dynamic.
His new single Hiræth, meaning ‘long gone’, offers a soundscape full of warmth and calm, enhanced by the unique soothing quality of Kim van Loo’s distinctive vocals – a sound which Fejká accidentally discovered during their time as roommates in lockdown. The track describes a certain sense of nostalgia for a place that might never be reached, or a place that might never be returned to, with an overarching feeling of longing throughout. Working from his studio in
Stuttgart, Fejká processed synths, pads and piano with a tape machine to heighten the nostalgic ambience and, through grainy imperfections, establish a more intimate relationship with the listener. The track is restrained and subtle, yet it cycles through the ups
and downs of an ever-changing landscape keeping listeners on their toes, “Like the feeling of being taken on a journey for the last time“, says Fejká Delving into a vast range of emotions and musical approaches, Fejká’s most recent album,
Reunion, cemented the young producer’s position in the downtempo electronic scene. The album’s single, Svanur, has been streamed over 15 million times with Fejká having recently performed sold-out shows at EartH London, Cross Club Prag, Kater Blau, and Klein Istanbul.

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

After a year of releases exploring recent musics from the USA, Europe and the southern hemisphere the Horn of Plenty presents a survey of archival private, demo, and live tapes from local avant-anarcho-punks The Apostles. The tapes were (poorly) recorded in Islington & Hackney squats between 1981-1983 and they capture the fledgling band exploring various line-up’s, styles & techniques with limited means and ability. In 1983 The Apostles released their first vinyl EP and switched mainly to a more straight-ahead anarcho-punk style. They gained a strong following then called it a day in 1989. Their vinyl output is still regarded highly by fans and collectors and their ‘official’ demo tapes have become highly sought-after, particularly since being namechecked by Ty Segall in a 2014 interview. In a 2009 article charting the band’s history (frontman) Andy Martin gives these early tapes a mere footnote and states that, in his opinion, they are ‘Best Forgotten’. With respect Andy, I beg to differ. Best Forgotten shows the band grappling with the political, racial and cultural tensions of the time whilst exploring radical politics and issues around homosexuality and mental health. Their sympathies with The Angry Brigade’s ‘direct action’ ethos extended to their involvement with the squatted Centro Iberico and The Wapping Autonomy Centre where they worked closely with Crass, Poison Girls, Flux of Pink Indians and The Mob among others. Viewed retrospectively, it’s easy to draw comparisons with early Fall records, The Door and The Window etc… but also at their melodic best they echo 60’s beat groups and even 70’s blues-rock. A keen interest in tape collage (supplied here by Ian Rawes who later became established with his London Sound Survey project) and the avant garde also inform the mix. Highlights include a bleak reworking of Lemon Kittens’ Chalet D’Amour and a live version of Simon & Garfunkel's I Am A Rock segueing into their take on Alternative TV’s Splitting In Two recorded at The Recession Club in Ponsford Street, Hackney. The short-lived Recession Club, which The Apostles co-ran and where Andy Martin worked the door, also hosted the first ever Coil concert. On that night he refused entry to Death In June on account of their ‘inappropriate attire’. Best Forgotten comes in a hand stamped, stickered and assembled edition of 500 copies and includes an A3 poster and 32 page A4 zine collecting archival photos and images from The Apostles tapes & zines along with liner notes and reflections on the tracks written by Steve Underwood (Harbinger Sound), Chris Low (former Apostles drummer) and The Apostles frontman Andy Martin, who thought this whole thing was daft.

Axces Recordings is releasing their second various artist release “Trip Wire EP”. Compiling 4 different tracks from 4 different artists focussing on minimal experimental techno club music. The record premieres Søren Kinch aka CX alongside the usual gang: Alfredo92, Kasper Marott and Popmix.

Trip Wire’s 4 tracks all have common denominators of being moody, trippy and darker than the usual Axces europhoria. All composed from an idea of linearity whether it being the straight forward grooviness of the track IZA, the 8 minute suspenseful robotic tantra workout in Kasper Marotts “Welcome” or the more laid back in the sofa, über minimal parade in popmix’s Ultima. With the opener track “Sjunne” Sørens Kinch or CX makes a promising debut. The track is ultimately the most romantic piece of music on this next edition of Axces music frisbees, with swirling pads and a kick drum that goes deep as the ocean.

The EP will be available on black vinyl. The release is presented with beautiful artwork done by Axces visual artist A.V. Nielsen.

repress

Levon Vincent returns with his fourth full-length studio album Silent Cities a striking departure from his previous records. This, his first release experimenting with the cassette format, Silent Cities is a kind of mixtape through more private moods and personal pitches (literally given Levon’s non-standard tunings).

While Levon has always pro
duced dance floor jams with the intention of raising people’s heart rates, Silent Cities began with 72 bpm: his average resting heart rate, and the concept of tuning the music he was making to his own body rather than increasing anything. This brought the tempos down to 72 bpm or even half of that, at 36bpm. Programming the record during the empty cityscape of Berlin lockdowns, this is the first time Levon’s created an album for the home stereo or for headphone listening whilst navigating through a city. A mixtape specialist in his youth; he was always wanted to play with the cassette format. The results are sure to delight any listener, with the ever-present ambient, krautrock, shoegaze, hip-hop and electro influences coming to the foreground on this work.

“I was expanding further along the lines of a surprise favourite from my previous LP, a song called She Likes To Wave To Passing Boats which was not a 4 on-the-floor piece to play in clubs but a more impressionistic piece of music that I wrote to expound some emotions one day” says Levon. “It was a song written using just intonation. I really love how warm the pure 4ths sound, so when working on the new LP Silent Cities I decided to use my own tunings”.

Historically, the use of just intonation has meant that such instruments could sound "in tune" in one key but at the expense of more dissonance in the other keys. None of the songs on Silent Cities use standard Western equal temperament, Levon created his own scale designs coupled with the ancient ratios found in just intonation.

Born in Houston in 1975, Levon’s life changed dramatically when his parents moved their family to New York in 1981, uprooted from what he knew, the shock, the change from Houston to New York at 6 years old, is referred to constantly in Levon’s Musical output over the years. Levon's family moved houses in and around NYC from 1981 -2010, never more than a mile or two from the WTC. He lived on the Lower East Side during his teenage years and early 20s. This time period and this locale are also a big theme recurrent in his music as he tries to convey how the "downtown" lifestyle and culture-melding affected him so much at a tender age. He cut his teeth working in record shops around lower Manhattan, and while working at the Halcyon Record shop in Brooklyn he (alongside DJ Jus-Ed) was instrumental in creating the wave that came to be known as the "NYC House Renaissance" circa 2010. During the Y2K years he studied 20th C post-minimalism at Purchase college of New York under James McElwaine (who tangentially produced Man Parrish’s Self-Titled proto-hip-hop debt LP). Levon was fortunate to study theory with avant-garde composer Dary John Mizelle and orchestration under conductor Joel Thome. He undertook masterclasses with Philip Glass and also served as intern for John Kilgore, engineer for Steve Reich, where he was present for notable mix sessions such as “Violin Phase.”

Post-minimalism clearly remains an influence not to mention the early sampler stars of 80s freestyle and synth pop. Mixing such far-reaching influences is something Levon executes tremendously well. The first track Everlasting Joy moves at a head nodding 96 BPM tempo, reflecting formative influences like Paul Hardcastle’s Rainforest or Art Of Noise’s Moments in Love. “Those types of songs were a big eye opener for me as a youth, because it was where I realised songs in popular culture didn’t have to be kept to just 3 minutes, and they didn’t require vocals either. So, Everlasting Joy is a song with that intention, one that might be radio-friendly, despite the long arrangement and without vocals. You could say it was inspired by 107.5 in NY because that was a station I listened to a lot in the 1980’s.”

The majority of demos on Silent Cities were recorded before Covid-19 hit the world - when Levon had found a studio space outside of home in his adopted city of Berlin. It was a career first - working on music outside the bedroom. This riding the train or bicycling ‘going to work’ in Berlin opened up a new mood in his music, using the time back and forth to be inspired - commuting as an NYC transplant who still feels as a tourist in Berlin, with a pair of headphones, looking out the window on the train, or stopping on bridges and parking his bike to enjoy Berlin's skyline and horizon. Then, the pandemic struck and “work” came to a halt. Levon had recorded so much material during that year in the studio out of house it seemed like an inflection point for him to lighten the burden of the possessions he was carrying.

“People close to me have watched me give away synths and hardware regularly and I have given away my record collection every few years for my whole life. As a struggling artist in my 20s who had worked in record stores that whole time, I learned that moving constantly with 12k records just wasn't the way to live. So, in light of the pandemic, I set up a shop online, and sold all my music equipment. I also created a separate shop for all my sneakers and clothes. Easy come, Easy go. This provided me with a slow drip type of income that carried me quite well through the pandemic and it allowed me to focus on my own art and music. Getting rid of all my possessions felt like a weight being lifted from my shoulders and I was able to stay the course and remain committed to the music. I needed a further 2 years to mix and arrange the LP. If it weren’t for the pandemic, I would not been able to make this type of LP, so in light of everything, I was able to turn a depressing time in to something lasting and musically very positive.”

You can hear how his approach to a cassette release retains the "Medium is the Message." ethos. Silent Cities is a spooling, warm piece about life memories and embodiment.

Beyond the Outer Limits by Cult of the UFO is a new solo recording produced by Anthony Barker of Overlords of the UFO.

Due to Anthony being an integral contributor to the music of Overlords of the UFO, the four tracks maintain the trademark retro analogue sci-fi vibe of Overlords of the UFO, although with a more contemporary edge.

This is the 3rd release by Enlightenment Records.