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Coming out on July, Jazz Codes is Moor Mother's second and latest album for Anti- and a com?panion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother's multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In its warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futur?ism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chica?go, and made records with billy woods, Mental Jewelry, and YATTA.

This new Studio collection on Soul Jazz Records delves deep into a melting pot world of reggae and funk and dub created at the music laboratory of 13 Brentford Road, Kingston in the 1970s - an intense collaboration of crack musicians, singers, DJs and engineers under the guidance of producer Clement 'Coxsone' Dodd. Here you will find some of the deepest and rawest cuts to emanate out the Studio One factory - truly hypnotic rhythms, powerful funk guitar and bass, soaring horns and more interspersed with occasional vocals and toasting as musicians reach for the highest heights and deepest roots of reggae music.

Instrumental, Neo-classic, ambient, Piano with electronic Recorded at cult CBE Studio (Bernard Estardy) in Paris, The Love Note is a collection of eight startling new instrumental songs played by an experimental quatuor under the auspices of Belgium composer Benjamin Schoos: Ondes Martenot (Christine Ott), Christophe Cerri (Piano), Manuel Hermia (Flute), Jerôme Mardaga (modular synth)

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Following the release and subsequent year of our first album, "The Hearth," we began nurturing some new compositions for a second release. This process began similar to the first album, each of working us separately on songs, then bringing the bones, veins, and skin of a track to the rest of The Creux to fully animate. We were all taking off in a lot of directions, which tends to lend greatly to our dynamic sound once harnessed, and it was a good departure after playing "The Hearth" tracks live for two years straight during tours and festivals. We ended up with around 25 or so song frames and delighted that list down to about 12 to lay into. Then, the pandemic hit. We were all separated into our own bubbles, trying to make responsible choices on how to continue writing and recording this record promptly as we had just penned a deal with our new label Freakwave; with a target of releasing sometime in 2020. It was a pretty challenging endeavor for a band that typically relies on each member to bring greatness to the sound. We began experimenting with using virtual jam sessions and shipping files to each other. Luckily, we are all decent home sonic production creators so creating and flying around edits and changes over the months leading up to our time in the studio wasn't tricky. Around the end of Summer 2020, we finally had the demo tracks prepped enough to start working with our engineer and producer, Patrick Hills of Earthtone Studios. He worked with us on our last album and is sort of a special weapon of creativity for what we can pull off. We would send in one member at a time to lay down studio versions of the finals in a separate room from Mr. Hills; mask on, the whole nine. We would fly out the takes each day and make edits, rinse, and repeat. It was tedious and was pretty trippy to make a record in that manner. "Goodbye Divine" took almost a year to finish recording and mixing. So, here we are, in the Summer of 2021, and it is complete and ready for release this October. Expect both departures and arrivals of what you might have predicted following "The Hearth." Yet, this album does, in true Creux Lies fashion, offer a complete range of emotions throughout the album; prepare to find yourself ass shaken, and watery-eyed before you raise the needle on "Goodbye Divine."

Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth…

Don't You Turn On Me ist das zweite Album der Poison Boys. Gestarted mit "Out Of My Head" in 2019, ist das 2. Ablbum ein großer Schritt in Richtung Punk und der Fähigkeit, knallharten Punk der späten 1970er Jahre zu schreiben mit einer großen Portion Rock 'n' Roll. Es reicht von sleazy Hits der frühen bis Mitte der 70er Jahre bis hin zu glühenden Punk-Tracks, von Instant-Punk-Klassikern bis hin zu Johnny Thunders Garage Rock. Ganz anders als viele andere Bands, die zu viele moderne Einflüsse in ihrem Streben nach Punk hinzufügen, bringen dich die Poison Boys mit diesem neuen Album zurück ins Jahr 1977 und versetzen dich in eine Zeit und an einen Ort, an dem du vielleicht noch nicht einmal existiert hast, aber auf jeden Fall wünschtest, du wärst da gewesen. Gegründet im Jahr 2014 von Matt Dudzik und Mike Lippmann, der tragischerweise an einer Überdosis verstarb, bleibt die Band den Klängen der späten 1960er / frühen 1970er Jahre Protopunk-Bands wie den Stooges, den New York Dolls und den Flamin 'Groovies treu und mischt sie mit New Yorker und britischen Punkbands der späten 1970er Jahre wie The Heartbreakers, Dead Boys, Vibrators und Slaughter and The Dogs, hinzu kommt noch ein Dosis Hanoi Rocks Glam. In der aktuellen Besetzung der Poison Boys spielen Sänger und Gitarrist Matt Dudzik, Gitarrist Steve Elfinger, Bassist Nico Bones und Schlagzeuger Matt Chaney. Poison Boys tragen die Rock'n'Roll Fackel glorreich weiter.

Nightlands is the solo project of The War on Drugs’ bassist and multi-instrumentalist Dave Hartley. Amid massive global paradigm shifts Dave Hartley (aka Nightlands) became a father twice over and left his native Philadelphia for Asheville, where the pace of daily life is slower and it's easier to maintain a zoomed-out perspective on modern life. From the newfound refuge of a studio he built using the bones of a barn attached to his hundred-something-year-old house in the mountains, Hartley has tailored a collection of well-crafted pop rock, pointedly titled Moonshine. Guided by some of the harmonic sensibilities that have helped make The War on Drugs a force in modern music, Moonshine combines immaculate-yet-dense vocal stacks and billowy clouds of effected keyboards with classic songcraft, revealing previously unseen acreage in the unfurling dreamscape that is Nightlands. The surrealistic album art by Austin-based illustrator Jaime Zuverza depicts an archway opening to the stars over the surface of an idyllic sea flanked by both moon and sun. Similarly, Moonshine reveals portals within portals leading to ever deeper places in Hartley's vocal-centered labyrinth. Throughout the album, there are plenty of buoyant high moods where the pitter-patter of drum machine and humming digital organ hints at Hartley's low-key tropicalia streak, but the lyrics anchor the dreaminess in real-world sorrow and resignation. Nowhere are these sentiments more apparent than on the title track, a nearly acapella recitation of "America the Beautiful" that poignantly hovers over a mirage of soft keyboards before dovetailing into Hartley's own words about the hypocrisy of the American dream. "This was never intended to be an overtly political record" he admits. "I have so many friends who are able to process the frustration of current events gracefully or with wisdom or in a nuanced way, but I often find myself just consumed with anger about it all. I decided to just let that come out, and it manifested itself lyrically." Moonshine's wide-eyed, utopian instrumental backdrops provide sharp contrast to Hartley's lyrics, which sting even harder within the sweetness. Even in light of the album's vocal emphasis, Hartley's history as a bassist brilliantly beams through Moonshine, giving effortless and sprightly movement to songs like "Down Here," which also features an extended section of saxophone lent by his Western Vinyl labelmate, Joseph Shabason. In addition to Shabason, the album hosts a short list of remote collaborators including four of Hartley's bandmates from The War on Drugs, Robbie Bennet, Anthony Lamarca, Eliza Hardy Jones, and Charlie Hall, as well as exotica virtuoso Frank Locrasto (Cass McCombs, Fruit Bats), and producer Adam McDaniel (Avey Tare, Angel Olsen). Hartley was forced to keep the guest list small out of the necessity of pandemic isolation, coupled with his move to a smaller city, all of which challenged him to do most of the album's heavy lifting right down to the mixing duties, resulting in the most independent effort of his career. By that measure, Moonshine is also the clearest image yet of Dave Hartley as a person and creator.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Debut vinyl outing for Valentina Magaletti and Pino Montecalvo's Avvitagalli project. Variegated percussion + wtf jams inspired by an abandoned & torched palazzo somewhere in southern Europe. None Corsa explores presence and absence, purpose and chance. The push-pull between Pino's toys, records, radio & instruments with Valentina's arsenal of percussion and production techniques takes in elements of modern composition, jazz, dub and post punk. The Wire magazine will run a multi-page feature on Valentina Magaletti, mentioning this release, in their May or June '22 issue.

What would it sound like if Ginger Root was asked to make the soundtrack to an American adaptation of a fictitious Japanese film from 1981 entitled, “街のやつ” (Machi No Yatsu) You’d get their new EP, “City Slicker” While the previous Ginger Root albums have had themes of introspectiveness and observations on past personal experiences, this upcoming release is the first collection of songs written from an outside perspective. The first collection of songs that live in a fabricated world. A short 19-minute escape to a metropolis that never was. Following a protagonist whose neighbors call him the “City Slicker”. On this EP, Ginger Root continues to pioneer their self-proclaimed genre: “Aggressive Elevator Soul”. By blending the bones and blueprints from the works of Yacht Rock and City Pop, with textures from the ever-evolving Bedroom Pop scene, glueing them all together fruitions something uniquely Ginger Root. One may argue that the best way to listen to “City Slicker” is not by vinyl, nor by cassette, but by VHS (if such a merch item were to be created). major label,

”Sometimes, Forever” - das dritte Album von Soccer Mommy erscheint am 24.06. und beweist Sophie
Allison endgültig als einer der talentiertesten Songwriterinnen der Rockmusik unserer Zeit. Mit cleveren
Anspielungen auf Synthie-Subgenres wie New Wave und Gothic erweitert die heute 24-Jährige die Grenzen
ihrer Ästhetik. ”Sometimes, Forever” ist eine faszinierende Sammlung, die sowohl von der Vergangenheit
als auch von der Gegenwart geprägt ist und damit das gewagteste und ästhetisch abenteuerlichste Werk
von Soccer Mommy. Das Album lebt von widersprüchlichen Kräften: Verlangen und Apathie, Ekstase
und Elend, Gut und Böse, Selbstbeherrschung und Wildheit. Unverblümte Liebeslieder reiben sich an viel
düstererer Kost mit makabre Bildern, die selbst die fröhlichsten Passagen heimsuchen. Aber da es ihr heute
besser geht als zu der Zeit, als sie die Lieder schrieb, hat sie keine Probleme damit, in den Momenten des
unkomplizierten Glücks zu schwelgen, die neben der Dunkelheit existieren. Sie sagt: ”Ich wollte nicht etwas
super Deprimierendes ohne jeden Sinn für Magie machen”. Der Album-Titel bezieht sich auf die Idee, dass
sowohl gute als auch schlechte Gefühle zyklisch sind. ”Kummer und Leere gehen vorbei, aber sie kommen
immer wieder - genauso wie die Freude”, sagt Allison. ”Irgendwann ist man gezwungen zu sagen: Ich muss
einfach beides nehmen.”
Produziert wurde der neue Longplayer von Daniel Lopatin aka Oneohtrix Point Never.

12" LP (300) 'Nostalgia Por Mesozoica' is an exploration of "experimental exotica" consisted of synthesized tropical attributes — an artificial landscape isolated behind the glass frame.Reminiscent of recording techniques and sonorities ubiquitous in the 60’s and 70’s, it could conceivably have been intended as a soundtrack for the Mesozoic Era exhibition at your favorite Natural History museum.

For fans of Turkish Psychedelic Funk and Anatolian Rock. Alexander Korostinsky (Whatitdo Archive Group and The Sextones) marks his solo debut with two heavy psychedelic tracks. 7" vinyl is limited to 300 copies.

Record Kicks busts down the doors with yet another 7" heater– this time by Alexander Korostinsky (The Sextones, Whatitdo Archive Group), an accomplished songwriter/producer making his debut as a solo artist with a heavy psychedelic 7" available at selected stores next June 17th and limited to 300 copies worldwide. Korostinsky gives a loving nod to the sound of 60s and 70s Anatolian Psych Rock all while staying true to his unique songwriting style and recording approach. On the A side is "Bones of God", a psychedelic Turkish-infused cut featuring an electric saz and sitar dancing across tape-y drums and his distinctive bass playing. On the flip side, "Altin Maske'', a hypnotic exploration into Korostinsky's mind as a solo artist– think a Turkish David Axelrod and you'll be set. "Altin Maske's" twists and turns guide the phased out drums and electric saz into a beautifully psychotic meltdown.

Meticulously recorded and produced entirely on a Tascam 388 by Korostinsky at his own Archive Group Studios,this 45 is imbued with Korostinsky's love of analog recording production and vintage records. One listen and you'll notice thatthese songs are begging to be sampled and are a must have for any serious crate-digger. If this first release is any indication of what we can expect from Korostinsky in the future, then we are excited to see where he takes us next.

The 7" vinyl is limited to 300 copies worldwide which makes it an instant collector's item.

- 2022 repress / comes in generic sleeve -

***
serpentine butterflies
trickle to his chin
ceaseless punches
fall like moribund rain
cracked bones clang
like splintered glass
again and again
***

Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.






Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.


[a] a1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]

Die dänische Metalband URKRAFT präsentiert ihr fünftes und bisher brutalstes Album und servieren eine intensivere und brutalere Version ihres melodischen, düsteren und schnellen Death Metal-Stils.
In jedem Ton und Takt ist eine schwere Melancholie zu spüren, die von der dunklen Seite des Lebens zeugt, aus der wir alle hervorgehen. Auch die Texte drehen sich um die Schattenseiten des Lebens, um sinnlosen Fanatismus und bösartige Handlungen dominanter Patriarchen.
"The True Protagonist" ist das neueste Werk in URKRAFTs brutalem und knallhartem Backkatalog, angefangen bei den frühen Schreien von "Eternal Cosmic Slaughter", dem melodischen Durchbruch von "The Inhuman Aberration" über das erdrückende "A Scornful Death" bis hin zur Wiederauferstehung der Band mit "Our Treacherous Fathers".

Die Band kommentiert: "Dieses Album ist uns nicht leichtgefallen, aber es fühlt sich in jeder Hinsicht richtig an. Wir sind unserem Sound und Stil treu geblieben, haben aber eine Menge Wut und Aggression, die wir im Laufe der Jahre gesammelt haben, in alle 11 Tracks des Albums einfließen lassen. Wir bleiben wütend, sind aber auch sehr zufrieden mit dem Ergebnis!"

Die dänische Metalband URKRAFT präsentiert ihr fünftes und bisher brutalstes Album und servieren eine intensivere und brutalere Version ihres melodischen, düsteren und schnellen Death Metal-Stils.
In jedem Ton und Takt ist eine schwere Melancholie zu spüren, die von der dunklen Seite des Lebens zeugt, aus der wir alle hervorgehen. Auch die Texte drehen sich um die Schattenseiten des Lebens, um sinnlosen Fanatismus und bösartige Handlungen dominanter Patriarchen.
"The True Protagonist" ist das neueste Werk in URKRAFTs brutalem und knallhartem Backkatalog, angefangen bei den frühen Schreien von "Eternal Cosmic Slaughter", dem melodischen Durchbruch von "The Inhuman Aberration" über das erdrückende "A Scornful Death" bis hin zur Wiederauferstehung der Band mit "Our Treacherous Fathers".

Die Band kommentiert: "Dieses Album ist uns nicht leichtgefallen, aber es fühlt sich in jeder Hinsicht richtig an. Wir sind unserem Sound und Stil treu geblieben, haben aber eine Menge Wut und Aggression, die wir im Laufe der Jahre gesammelt haben, in alle 11 Tracks des Albums einfließen lassen. Wir bleiben wütend, sind aber auch sehr zufrieden mit dem Ergebnis!"

Acid techno, Electro too... Free 2.0

With a superb collection of stickerz, fanzine, etc....

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

 Rumours about death metal band To The Gallows
have already existed in the (Dutch) metal
underground for some years now, but an official
release has never seen the light. Until now.
 In 2013, the ‘underground super group’ To The
Gallows was formed by Swedish metalwundermaster Rogga Johansson (Heir Corpse
One, Paganizer, Stygian Dark, Massacre, Blood
Gut, Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting), Eric Daniels (Asphyx,
Soulburn, Grand Supreme Blood Court), Bob
Bagchus (Soulburn, Asphyx, Infidel Reich, Siege
Of Power) and Henri Sattler (God Dethroned).
Master plans ended when Daniels and Bagchus
re-started their career with Soulburn. The ‘match
made in Hell’ duo Johansson and Sattler continued
with To The Gallows and ‘Fury Of The Netherworld’
is their debut-album.
 Brutal blackened death metal for fans of
Dissection, Zyklon, Belphegor, Hate, Necrophobic,
Archgoat and God Dethroned.

Vor gerade mal zehn Jahren wurde "Down To The Bone" von Les Disques Du Soleil Et De L'Acier veröffentlicht - ein DEPECHE MODE Tribute Album, auf dem SYLVAIN CHAUVEAU zum ersten Mal auf einem Album sang. Er interpretierte elf Tracks in seinem typisch minimalistischen Stil und ließ nur die ,bare bones" der Originale zurück. Mit dem ENSEMBLE NOCTURNE definiert er die Konturen dieser bekannten Hits auf ungeheuer intime Art und Weise neu. Das von Kritikern hochgelobte Album ist ein Muss für Fans von CHAUVEAU ("The Black Book Of Capitalism", "Nocturne Impalpable") und DEPECHE MODE. Zur Feier des zehnten Jubiläums des Albums macht sich Ici D'ailleurs an das Re-Issue auf CD und zum allerersten Mal mit neuem Artwork auch auf LP. Ein Jahrzehnt und eine ganze Stange Alben später ist "Down To The Bone" noch immer ein großer Erfolg für CHAUVEAU - das Album reicht weit über ein simples Tribute hinaus, indem es einen Schritt von den Originalen zurücktritt. Die Inspiration des Pop ist noch immer vorhanden, doch diese Stücke geben dem Ganzen einen melancholischen Touch. Das Album ist der beste Weg für CHAUVEAU, der Musik von DEPECHE MODE seine Liebe zu erklären.

***
serpentine butterflies
trickle to his chin
ceaseless punches
fall like moribund rain
cracked bones clang
like splintered glass
again and

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Australia-born Los Angeles-based artist Luke C. presents ‘T.O.M.B.’, his debut solo release on his newly minted label Velvet Bikini.

The seven-track album is a gauzy, starry-eyed style of ambient electronics, embedded with melancholia and a touch of otherworldly psychedelia. A soundtrack to a generation lost, endlessly searching the streets of a sun-drenched, neon-lit city. ‘T.O.M.B.’ will be pressed on limited-edition vinyl.

The bulk of T.O.M.B. was recorded at Luke C.’s home studio in LA over the last 12 months and put together with various sources—MicroKorg, voice, sampled records, treated field recordings, resampled synths—to create the noir-ish atmosphere present across the LP, one that takes the listener through the depths of the psyche and the neon-lit corners of the city in which it was recorded.

Iranian-American artist Kamran Sadeghi mastered the entirety of the LP, known for his recent album on Richard Chartier’s LINE imprint and his work as a key member of Soundwalk Collective.

Third Eye Blind 'Our Bande Apart', produced by Stephan Jenkins and Colin
Holbrook is their follow up to 'Screamer' and the first release since
lockdown
Recorded in Eagle Rock, Los Angeles with guest Ryan Olson of Poliça and
Marijuana Death Squad adding his unique, overall weirdness to the song. The
albums' first single "Box of Bones concerns itself with the ambivalence and
stakes of relationships under pressure," says Stephan Jenkins. The song is from
the band's first recording session since before lockdown and "is the most fun
we've ever had in the studio," he adds. "You can hear the exuberance we have
playing together in the same room again." With it comes a video celebrating
creativity and connection with artists Joseph Arthur & UnCuttArt, directed by
David Wexler (Motorcycle Drive By, TriBeCa Film Festival 2020) and inspired by
Marina Abramovi 263;'s legendary art installation, The Artist Is Present.
The following track "Again" features Bethany Cosentino of Best Coast trading
vocals with Stephan Jenkins on a song that is reminiscent of a travelogue from
days gone by.

‘for you who are the wronged’ is the much
anticipated follow-up to 2018’s ‘from when i wake
the want is’ and her 2014 debut, ‘bones you have
thrown me and blood i’ve spilled’, which won
2015’s Scottish Album Of The Year award.
If ‘from when i wake the want is’ was written for
love to return, this is where she fights tooth and
claw to protect it.
Written and co-produced by Kathryn Joseph, it was
recorded at The Lengths Studio in Fort William,
with producer Lomond Campbell (recording artist
for One Little Independent and has previously
produced King Creosote).
Flesh pink coloured vinyl LP (initial pressing)
includes lyric booklet and digital download code.

Pressed on Eco Vinyl - Jemima Thewes is a singer/songwriter who grew up in the highlands of Scotland; an atmospheric landscape which continues to help provide the bones of her music - She sings traditional songs and her own material

In February 2015 Jemima independently launched her debut EP 'Bright Shadows' with friends and collaborators Tim Lane (tongue drum), David Boyter (guitar/ mandolin) and Susan Appelbe (cello). It has been greatly received with radio plays on stations such as Travelling Folk on BBC Radio Scotland and Late Junction on BBC Radio 3.Cloud-hopping tales are told by warm, haunting vocals
and adorned with playful instrumentation. Jemima and her band charm you along a cathartic, spell- binding and life- affirming journey. The unique combination of strings and a rare wooden box in the form of a chromatic tongue drum creates an innovative sound which along with Jemima's compelling voice, magically stirs the emotions to the very heart of the soul.

Dear is Pauwel's big step forward. His debut album on Unday (due April 2020) is a mature collection of songs about loss in all its different facets. Pauwel openly confronts his demons, without ever losing sight of the essence: rock-solid and captivating folk songs between hope and despair, comforting and disquieting at the same time. Dear turns out a record to cherish and completely disappear into.

Shortly after Pauwel finished his previous EP, his mother passed away. A few weeks later, Europe went into lockdown for a second time. Pauwel wanted to cope with this turbulent episode on his debut on Unday Records, but the isolation during the pandemic only cast more doubts. During the darkest winter months, the 31-year-old songwriter realized that loss comes in many guises: lovers come to leave, suddenly leave or turn out to have become strangers. "Dear" is the account of this dark period in Pauwel's life. A reckoning with all the bad that happened to him and his peers. It is also a bridge to whatever comes next, a hopeful glance at the future.

On 'Dear', Pauwel expands his musical universe considerably, without losing his characteristic melancholy and distinctive voice. With the help of musicians Sander Smeets, Koen De Gendt and David Broeders - his new backing band - the rough folk diamonds were polished into mature songs. The stunning voice of Catherine Smet (aka Bluai) serves as a comforting echo on a handful of songs.
"Dear" was recorded at three different locations by producer Bert Vliegen (Whispering Sons, Sophia). The opening track "Murderer" and the haunting "Bones" were created in a hut in Walcourt. The bulk of the record was recorded during an intense week at the GAM Studio in Waimes. While the TV news showed apocalyptic images of the floods in the province of Liège around the clock, Pauwel and his band finished the songs. Rich, spacy arrangements ("Lazy"), rambling country-rockers ("Deer" & "Sister") or a tearful one-taker on Fender Rhodes ("Mother"): during this session "Dear" finally came together.

Music Heads by Radio Trip is and remains one of the most far out releases we have ever had on Jalapeno Records.

In the Noughties, the label was approached with some incredible music by the super talented Mixmonster and Schoolmaster, founding members of the Israeli jazz funk band 'The Apples'. Produced under their 'Radio Trip' moniker, the album was a glorious cut & paste journey into sound, with overtones of musique concrete, brought to life by their fascination with vinyl culture, turntablism and sampling.

Their source material knows no bounds and draws from a diverse palette. Traditional middle eastern meets blues, jazz meets rock, hip hop meets psychedelic, and more all come together into one blossoming, cheerful trip, where the cultures of the world collide.

At the time, music piracy was in its heyday and the vinyl market was supposedly in a death spiral, so it was only released on CD and digital.

Now released for the first time on a very limited vinyl LP run, this gem of an album may be one of those moments you discover a touch of genius in a world where formulaic music is churned out with no soul in it's bones.

Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk- singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

For fans of - St. Paul & The Broken Bones, Mayor Hawthorn, Nathaniel Ratelif. Oliver James is a time capsule. Raised in a family of musicians and a man who has been performing live since he was a child, Oliver comes to his love of soul music in a most honest and authentic way. Growing up listening to gospel, blues, and R&B from the classic early Stax era, his influences as a musician, songwriter, and producer are clear. After a stint working as a songwriter for Rick Hall, Mr. James is now set to start his own career. Producing, editing, mixing, and performing completely to tape, Oliver makes his mark with his debut single "One And Only" on Colemine Records

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

Signed to Columbia Records, Maren Morris is one of the leading country music voices of her generation. The 4 x platinum selling 'The Bones' topped the US Billboard country songs chart for an incredible 19 weeks in 2020. She has since won multiple awards. This album is the follow up to 2019's critically acclaimed 'Girl'. This is an 11 song album available on standard LP and CD. Strong support at radio, with plays across R2, Absolute, Virgin and ILR specialist shows. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign and database mailout.

Long-awaited vinyl edition of Adia’s 2021 album. UK live dates due in the summer (announced soon!).

In Adia’s words: "This album is the culmination of years spent digging for the subtext of southern identity, and the bones of belonging down in Dixie. it was the challenge issued forth by Skip James, Victoria Spivey, Bessie Smith, Jessie Mae Hemphill, Junior Kimbrough to keep on contextualizing the blues."

With A Southern Gothic Adia continues her journey through the conflicts of the American South and the troubling resonance of its past. Sonically, the album is full of frequent juxtaposition. It is equal parts historical montage and modern prophesy, dark and light, love and loathing. The 14 tracks are the musical embodiment of the relationship that so many people, especially Black women, have with the South.

A Southern Gothic, was executive produced by T Bone Burnett, and features guest contributions from Jason Isbell, Margo Price, and Matt Berninger.

The duo from North of England (Silverdale) is finally back with their 3rd studio album ‘A Safe Place To Be’. ‘A Safe Place To Be’ comes as the most personal and up-close album from the band.

It’s an album the two of them have been working on, on and off for 2 years, and they and it has been through so much in that time.
The creative aspect of this album (shown in the artwork, videos, and physical formats) is a huge part of this album. The detailed model village where everything was captured, is based on the band’s memories old and new. It’s set in the village (Silverdale) where they both grew up and each song holds a special place in that model village for the two of them. It itself is the band’s ‘Safe Place To Be’, their memories, their hometown, and the songs of this album all in one place. It’s a journey they’d like to take their fans and listeners onto and hopefully, they can find or return to their own ‘safe place to be’.