Suche:dee wild

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.

The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.

'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.

Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.

There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.

While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.

Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.

RIYL: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

A joint collaboration between long standing L.A garage label In The Red, Universal Music Australia and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of (I’m) Stranded will feature 4 x vinyl long players covering all the band’s studio and live recordings from 1976 thru 1977 and includes; • The iconic debut album remastered for vinyl for the first time in over 40 years • A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time. • A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time • All three tracks from the 1977 This Perfect Day 12” single and all four tracks from the 1977 1-2-3-4 double 7” single • The previously unreleased 1976 demo mix of the full (I’m) Stranded album. In addition to all that vinyl (I’m) Stranded deluxe edition will also features a 28 page 12” x 12” photo essay of the band covering their origins from 1973 through the end of of ’77, authorised band history, an 8” x 10” 1976 promo photo and a (I’m) Stranded sticker.

Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg.

The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless 'Track 3'. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short.

Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mat

Legendary UK band Asian Dub Foundation is celebrating its 30th Anniversary this year!

Asian Dub Foundation are a genre unto themselves. Their unique combination of jungliest rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots via militant high-speed rap has established them as one of the best live bands in the world. The story began in the early 90’s when ADF formed from a music workshop in East London at the institution which is their spiritual home, Community Music. Their unique beginnings in a music workshop in east London shaped both their sound and their educational aspirations, setting up their own organisation ADF Education (ADFED), plus instigating campaigns on behalf of those suffering miscarriages of justice.

Building a solid live reputation in the mid-90’s, they gained worldwide recognition sharing the stage with Rage Against The Machine, the Beastie Boys, Radiohead and Primal Scream. On record, they've collaborated with Radiohead, Sinead O'Connor, Iggy Pop, Adrian Sherwood, and Chuck D. In addition to their blistering live reputation ADF were one of the first bands to experiment with live film re-scores (“Cineconcerts”), beginning with their rapturously-received re-interpretation of the French classic La Haine back in 2001.

In 30 years, Asian Dub Foundation have racked up 1000’s of unforgettable shows, 9 studio albums alongside a social and educational activism that both created the group and sustains them today. In celebration of the longevity of this unique project they are announcing an extensive European tour for 2024-25 of more than 60 shows and a special album showcasing their many iconic collaborations. “94-Now: Collaborations” will be released on September 27, 2024!










h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) ADF30 Rework)








h B3 Free Satpal Ram ft. Primal Scream (Bendran Lynch Mix) ADF30 Remaster

j B5 Black Steel in the Hour of Chaos ft. Chuck D (Live At Somerset House) [ADF30 Rework)

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

Tijs Vanneste, succesvol muzikant én tv-maker, komt met zijn eerste eigen plaat 'Over De Helft'.

Als deel van het iconische duo 'Van Echelpoel' werd het hoog tijd voor Vanneste om zijn eigen muzikale pad te bewandelen.

Tijs scoorde al eerder met albums in functie van zijn televisiewerk: 'Hier Is Het Goed' en 'Wildgroei' maakten deel uit van zijn gelauwerde televisieprogramma 'De Kempen' op VRT1. Dit nieuwe project wordt gedreven door zijn persoonlijke passie en mag gelabeld worden zoals iedereen in deze woelige tijden dat zelf wilt: een daad van egoïsme, nakend narcisme of gewoon een uiterst hoge nood aan een eigen creatieve uitlaatklep.

'Over De Helft' is geen toevallige schepping, integendeel, het is een belichaming van elementen die voor Tijs van onschatbare waarde zijn: humor, diepgang en plezier doordrenkt met wereldwijde muzikale invloeden zoals Reggae, Dub en Slavische klanken.

Zoals we van Vanneste gewoon zijn wordt dit alles op zijn eigen hardnekkige en eigenwijze manier van uitdrukken gepresenteerd: het authentieke en ondertussen tot wereldtaal verheven Kempense dialect.

De titel van dit zelfverklaard meesterwerk is treffend: 'Over De Helft'. Want laat dat nu de plek zijn waar Tijs zich bevindt: bijna 45 jaar oud en vooral erg blij met waar hij nu voor en in het leven staat: eerlijk en rechtdoorzee. Nummers als 'Talent' en 'De Kempen' vertellen over vroeger, nu en... later.

In het allerbeste geval is 'Over De Helft' een stimulans voor zowel lichaam als geest of op zijn minst een plaat die je doet dansen, lachen en verlangen naar een eeuwigdurende zomer.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.

The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.

Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.

All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.

Riding a wave of critical praise and positive feedback for his most recent Emperor Machine album, the fabulous Island Boogie, Andrew Meecham returns with a typically wild and dancefloor-focused set of dubs, ‘versions’ and remixes.

According to Meecham, Island Boogie is his most personal set to date – a full-length excursion that not only delivers perfectly formed expressions of his dub-tinged, off-kilter synth-boogie sound, but also tracks that draw deeply on his earliest influences and long-held musical expressions.

It’s fitting, then, that this remix EP begins with his own sparse, stripped-back ‘version’ rework of ‘S-S-S-Single Bed’, a fine cover of the mid-80s Fox single featuring the vocals of Michelle Bee. Meecham’s dub-wise revision is a skeletal and driving affair, with snippets of echoing guitar, colourful synths and Bee’s distinctive vocalisations rising above a weighty dub disco bassline and rock-solid percussion.

It's followed by two revisions of album favourite ‘Wanna Pop With You’ from A Love From Outer Space main man Sean Johnston under his now familiar Hardway Brothers alias. Combining his own love of raw, analogue-sounding electronics and trippy dancefloor psychedelia with select elements of Meecham’s original – percussion, synth sounds, crisp guitar licks and elements of Severine Mouletin’s lead vocals, Johnston’s main ‘remix’ is a weighty, mid-tempo treat. Arguably even better is his accompanying dub, which is more groove-and-effects focused and makes more of Beecham’s superb original bassline. It’s heavy, spaced-out and undeniably intoxicating.

To round off the package, long-time friend of the label (and sometime contributor) Rose Robinson dons her Tigerbalm pseudonym and gets to work on ‘La Cassette’. Brilliantly cutting up Severine Mouletin’s vocals, she delivers a driving slab of spaced-out, synth-heavy dub disco that adds more weight and energy to Meecham’s original. It’s a fittingly on-point way to close out a superb selection of club-ready revisions.

Brussels is a highway where rainbow-fuelled melancholia kids race its track, mountain and road bikes. Endless summers cherish the collective chosen chaos of the city; every corner displays wild micro-natures, buzzing insects, and rare weeds fourishing organically; tape hiss and AM radio compression are the soundtrack of everyday life. And hear! Originated in the Brussels DIY, indie rock and noise scene, a new kid on the block appears: Another Dancer.

They deal in utopian music - of the open, welcoming and whatsoeverish kind. It’s fresh, snotty, neurotic art-rock deeply rooted in 80s/90s DIY aesthetics. The songs on their debut album balance gently between forgotten pop hits and broken sound experiments. In their world, any shitload of weird, random, and badly synchronized sounds unveil broken-hearted pop mastery. In the Another Dancer universe, radios are stuck to WFMU and Soulseek is a self-conscious AI producing 80ies psychedelic FM-rock.

Brussels-based Another Dancer is outdated, wild at heart and elegantly shy. Their full album I Try to Be Another Dancer is out September 10th on Bruit Direct Disques and Aguirre.

"Flashes of the shambolic post-punk of Good Sad Happy Bad and the goofy, fraternal synth-pop of the blog-era gem Teenagers can be seen, often simultaneously, across the new single from the Brussels-based band Another Dancer. Vocals are layered on top of each other to a conversational near-cacophony, like you’ve been placed at the center of a Dry Cleaning show where everyone is, improbably, in a good mood. Sunny synth sweeps jostle next to bent, jangly guitar lines for a song that finds a special kind of vibrance in its mess. — Jordan Darville”

Almost 3 years after the release of "Mathusalem", François Ier reveals his fiery successor, "Incendie". In keeping with his previous releases, this new opus has been conceived on the basis of enveloping layers, deep bass and harmonies that are always very rich. The melancholy dimension characteristic of his music is also omnipresent, although it sometimes asserts itself with a form of violence.

Like its abundant cover, this new opus deploys an extremely varied range of sounds, most often evoking strong English influences, with breakbeat, jungle, drum'n'bass and new-wave rhythms, all supported by vocal samples with dancehall, reggae, r'n'b, reggaeton and hip-hop accents, resulting in a hybrid sound to say the least. "Incendie" is marked by the systematic use of the Prophet 8 synthesizer, whose wild, constantly shifting sound underlines the fiery character of this new opus.

Mind Lines, the second record from Silver Scrolls, is the follow-up to 2020's Music for Walks. Dave Brylawski (Polvo, Idyll Swords) and Brian Quast (Polvo, the BQ's) once again team up with producer and de facto third Scroll Greg Elkins, to make an album that plants you firmly in your rock feelings. All of them. Classic rock, psych rock, indie rock, post rock, pre rock. Rock as hell.

Mind Lines. Follow them. Inspiration, spotted in the wild, lured out of dusty record bins and chased down scum alleys and garden paths, sounds stalked and collected, wrestled and arranged, until everything is in its proper place and the final LP is as it should be. Or shouldn't be. Nine minute and seventeen second radio hits. Indie rock drum solos. Whatever. Whatever dumped from the butterfly net of their collective unconscious. Whatever stumbled through the door of their open minds. Whatever works.

At this point in their collective music careers, the Scrolls are free to emulate, ignore, or destroy convention, as they see fit. Dave and Brian have seen enough, the Mind Lines have been drawn, traced... The songs are as classic as they are brand new. Yesterday chasing tomorrow. Noon is the verse, midnight the chorus. and right now is the bridge. The Scrolls chug deep from the fountain of spooky tooth, shooting sparks through their teeth. Let's go.

On Mind Lines, the Silver Scrolls are still walking, shredding, open to whatever comes next. The music came down from the mountain. Please stay a while.

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.

Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).

"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave

- Limited Vinyl Edition + Art Print Bundle: (Transparente Vinyl in Premium Tip-On-Sleeve mit bedruckten Inner-Sleeve plus limitierten 12” Artprint – Prägedruck auf hochwertigem Karton.)


Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).

"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.

Love Rudiments is a meditation by Ty Segall on his first love: the drums. Known popularly as a singing guitar player, he generally starts the recording of his songs by laying down a drum track. Love Rudiments kicks off with drums and percussion then adds a few other percussive and production aspects. It travels a great journey in this configuration. However, Love Rudiments wasn"t written or performed to present as some kind of solo drums album - it"s just another music album, with vibes (figurative as well as literal), feels, a theme and a through-line. Never one to shy away from a challenge, Ty"s made an instrumental album of percussive music that rides the wild surf of a waxing-then-waning love affair - from the first blinding look, to the eventual recognition, that look back at love"s rudiments, viewed from beyond and outside that seemingly infinite sensation And why not? Drums are a melody instrument too. Ty plays them with precision and sensitivity, delving deep into the textures of timpani, vibraphone, xylophone, percussion and e-drums, all of them occupying space within the luxe stereo spread of the drum kit. In the process, a psychological space is opened - a private emotional location where only two can meet. Love Rudiments reembodies the passion and compulsion that drives all of Ty Segall"s music in a suite of moments played on orchestral batterie to explore the most delicate passages of human interaction - playing on the bones of love.

When the Amsterdam singer-songwriter Jana Mila (pronounced Yah-nuh
MEE-lah) began writing a song called "Chameleon," she thought she was
writing about someone else--a friend who seemed to be changing her
colors to please other people "But the more I lived with the song, the
more I felt like I was writing about myself," she admits "Doesn't everybody
try to reflect other people? Don't I change my own colors in order to be
accepted? Especially when you're young, you can lose yourself in other
people if you don't know who you are"
That is the central idea behind her debut album, also titled Chameleon, which
introduces Mila as an artist deeply committed to self- reckoning and selfpossession. Our innate desire to belong and to be loved can lead to a kind of selfannihilation, making us strangers to ourselves. Writing songs is her means of
finding and sustaining her identity."The album is a conversation with myself, a
way of getting to know myself better. There are little fears woven into every lyric,
but there's also advice to myself. I'm writing to find a part of myself that has
some wisdom."
Musically, Mila is the best kind of chameleon. The album draws from a wild array
of sources, entertaining new ideas on every song: dusty Laurel Canyon folk on
"It's True," catchy Nashville country on "Let Me In," driving '70s rock on "I Wasn't
Gonna." She puts her stamp on every note, turning those fears into an album of
remarkable confidence, eloquence, and power. Chameleon is a self- portrait
rendered in vibrant detail.

The wild greaser with an ever-broken heart, Cong Josie, is back! His
eagerly anticipated sophomore album; Moto Zone, pulls up throbbing,
revving, sweating and grinding hotter than bitumen on a summer day
It is a non- stop EBM'in', synth- punkin', rock 'n' rollin' and doo- woppin' sizzler, in
much the same vein as his 2021 debut Cong!. With this release however, Cong
pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder,
slow sleaze hip-grinding enters and the dream washes return to envelope all that
hear them like a siren's call. On Moto Zone, Cong conjures the age of rock 'n' roll,
a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair
pomade, with an Aussie twist on greaser 'cool'. Confessional lyrics tell tales of
addiction and mental illness tracing the scars of a troubled past. Cong says the
"Moto Zone" reflects his daily life and mindset. A life of ADHD, burning the
midnight oil, living on black coffee, obsessively creating and revving through
every day. Ultimately Cong is reaching for bliss, feeling connection and a new
world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful?
A lust for life? The record is all of the above.

The latest full-length from Kishi Bashi, Kantos is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari - a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II - the Seattle-born singer/songwriter/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations - the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete - Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt - a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos. Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as "less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love." "If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art," he says. "Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There's still no limit to what we have to offer."

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

3 Feet Deep is back with a new record infused with personal significance - five UKG tracks cooked up by French artists. Folklore associates Bernardo & Stefan Dubs deliver two enthralling dark 2-step tunes respectively on A1 and B1 while Enrico Dragony, DJ W!LD, and Pépé Elle explore the rhythmic realms of 4x4 beats. The record is guided by the loose, instinctive style of each artist, evolving organically following their own interpretations of UKG.

80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7". Taken from their forthcoming album, Viva Lone Justice, 'Teenage Kicks' is a rambunctious slice of punk angst that sounds like it was recorded in one take. It's a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey's only solo hit 'A Good Heart', Lone Justice cover The Undertones' Peel-approved favourite with the artwork of the single being a nod to the original. "As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice")." Backed with 'Nothing Can Stop My Loving You' that's cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. "Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // "A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

A truly one-of-a-kind artist, Kaitlin Butts has a deep affinity for country music’s more theatrical side: the extravagant storytelling, dazzling showmanship, songs embedded with both unbridled emotion and quick-fire humor. After discovering her passion for performing as a little girl, the Tulsa native later brought her boundless energy and radiant voice to her own unapologetic yet soulful songwriting. When it came time to create her third album, the Nashville-based musician leaned into her lifelong love of musical theater and dreamed up a modern-day reimagining of the soundtrack to her all-time favorite musical, Rodgers and Hammerstein’s Oklahoma! The result: a high-concept but candidly autobiographical LP called Roadrunner!, whose 17 powerhouse songs show the full force and extraordinary depth of Butts’ artistry for the very first time. Produced by Oran Thornton (Brent Cobb, Logan Brill), Roadrunner! marks a major tonal shift from Butts’ 2022 sophomore LP what else can she do, a character-driven exploration of complex matters like addiction, domestic violence, and generational trauma. “With the last album I wanted to write about the struggles I’d seen people go through or experienced myself, so a lot of the songs had a sadness or darkness to them,” she says. “I feel like Roadrunner! is much closer to what I’m like onstage, where there’s real emotion and truth but also humor and a tendency to poke fun. It’s all those different versions of me at once.”

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


"We had a conversation recently where we realized that we’ve been a band for almost 10 years. When we started Wild Rivers way back when, we had never played a real concert before. When we made our first record it was our first time stepping into a real studio. We barely even knew each other when we started this band. Since then we’ve played a thousand shows, recorded over 30 songs, and become a family.

When we set out to record ‘Never Better’, we felt like we were at a new stage of the band. By that point, we’d put in the hours and all began to feel totally self assured in what we were about to do. We wanted to bring everything we’ve learned over the years and all that we’ve been through as a group to the project. We chose to trust our guts and move quickly and confidently in every decision, second guessing ourselves as little as possible. In having this mindset, we were able to completely let loose and go deeper into the process, finding new ways of recording live, swapping instruments, and turning these songs on their heads. We couldn’t have made this record a few years ago.

We approached this record with the mindset, ‘this is who we are’. We aren’t pretending to be something we’re not, or trying to sound like anyone else. We wanted it to feel easy. We wanted the stories to be real. We wanted to show our true selves as best we could. We’re proud of who we’ve become as people and as a team. We truly feel like we’re having the most fun with music that we’ve ever had, and in the most exciting stage of our lives. We’re never better."

Spray’s Punctuality arrives sharp for its second instalment, rolling out the velvet carpet to welcome LA’s royal rave highness Etari. Kweenie is her inauguration, a no-nonsense exhibition of prog tonkers and tech pumpers accompanied by a wild remix from Angel D’Lite.

Deep in the heart of the angel’s city resides Etari, the west coast icon of boundless rave energy. Having graced the kingdoms of 100% Silk and Delusional Records previously with a wily array of hardcore dance styles, Spray’s Punctuality is the next stop. Etari duly obliges his invitation with Kweenie, a new iteration of her sound that develops her twisted club fantasies beyond the clouds, or at least as far as the lasers will carry.

Clocking in and the title track throws down from the off, shaking its royal rump that’s fit for a Kweenie before bumping its soaring bassline along its naughty groove. Angel D’Lite heeds the remix call, kickin’ it rage style with a breakbeat pumper that harkens to jungle tekno past while straddling future prog pastures. Lulu Limon gets freakier on side B, as Etari zests its anaesthetised groove with clicks and pops while gliding down its minimalised wormhole of latent psychedelia. Racehorse is last out the gate, initiating a heads-down stomper of tech(no) consequence that gallops cute but serious with club tenacity along its majestic travels, and thus concluding Punctuality’s latest transmission.

2024 Repress

Physically and mentally draining in the best way possible, Wet Will Always Dry is maybe the most complete statement from Blawan to date, and as such should be ignored at your peril. This becomes evident from the album-opening 'Klade,' a dizzying, tumbling flight of pure energy over overlapping fields of electrified menace. This sets the stage for 'Careless,' which retains the hazardous, crackling atmosphere but dials back the intensity just enough to make room for a new feature, Blawan's eerie and disembodied vocals.

'Tasser' ratchets up the tempo and the frenetic energy yet more, slinging chunks of audio shrapnel and grinding factory noise over the kick-heavy beat, only letting up the tension every now and then for a convulsive breakdown. By the arrival of 'Vented,' a more steady, cycling groove has set in along with the accompaniment of suspenseful melodic swells, but the element of surprise is far from gone: there still seem to be spectral entities lurking around every corner, and there's no shortage of intriguing tumbril weirdness blowing around the imaginary streets that this track conjures up.

The slamming 'North' keeps alive the record's persistent, darkly humorous feeling that things are about to go off the rails at any moment, using wildly contorted sequences and granular debris to shift between total abandon and regimented strictness. A moment of relative calmness, along with the return of the atmospheric vocals, comes about with 'Stell,' a faintly dubby track that leaves an impression like watching streams of traffic progress underneath rolling, deep grey clouds.

'Kalosi' brings back the percussive motif of 'Tasser' and 'North,' this time partnering it with loops that bring to mind radioactive bass strings. 'Nims' then shuts things down with infectious harp-like sequences, fuzz-shrouded percussion and an 'everything but the kitchen sink' mentality towards filtering and processes which will get the attention of all but the most jaded soundhead.

LRK are excited to announce their next full album release LRKLP-08

'ALL I EVER WONDER' By Johnny Burgos

Available on LP/CD/DIGITAL

Singer, songwriter, and producer Johnny Burgos converges with veteran soul producer, Jeremy Page, (Kendra Morris, Czarface, MF Doom) to offer their first joint album together titled, 'All I Ever Wonder.' The album is a vividly vulnerable and honest effort by Burgos, lyrically and vocally, supported effortlessly by Page's masterful production. The pairing of the two seems meant to be, with a sound steeped in retro soul techniques, the album is equal parts novelty and nostalgia, equalling a timelessness that speaks to the humanity in all of us. All I Ever Wonder will be released on Vinyl, CD and all digital platforms on Friday, JUNE 28th, 2024 via UK-based Soul label LRK Records.

Johnny - "Jeremy and I have been ships passing in the night for years now. However, our first official collaboration was a 2021 remix of my song The Grey, which featured his long-time co-collaborator Kendra Morris. From the get-go, the musical chemistry was strong, so we took a shot at writing some original tunes. Since then, we've locked in on a creative groove and churned out a bunch of material. As we learned how to complement each other's musical strengths, the project took on more form and purpose, exploring heavier subject matter and expanding its range of genres. I'm pretty sure that's what makes this project so fun for us, and possibly what the early gatekeepers and listeners resonated with most. Neither of us expected such a reception to the music, which only made us more excited to hone in with more intention towards a goal. This also allowed me to bring more raw ideas to the table and have the confidence in Jeremy to hear the potential, then work his magic to extrapolate on my foundation. The teamwork in this effort was inspiring as we listened and referred to each other in every step of the process, and had a crew of killer musicians on deck for when we needed the extra feels on some joints.

We worked really hard on this record and hope it reconnects our listeners to being human in a visceral way. It's accessible, honest, and soulful because I wanted it to speak to anyone who still wants music to relate to. Music to help you through the valleys, to celebrate the peaks, and handle everything in between. It's a journey of the soul that explores ego, insecurity, love, loss, survival, enlightenment and trusting the process. It's truly 'All I Ever Wonder.' "

"All I Ever Wonder" will have its digital release through LRK Records on all platforms on Friday, JUNE 28th, 2024.

Johnny Burgos is a Brooklyn - born singer, songwriter, producer & engineer. His brand of future-soul embodies a raw uncompromising sound revealing beauty from pain, hope from despair, and the will to keep fighting. Especially influenced by his uncle and world-class percussionist, Andre Martinez, Johnny grew a fascination with the percussive rhythms of salsa and soul music, eventually manifesting into a devoted passion for Hip Hop production using an Akai MPC. With influences from Michael Jackson, OutKast, J Dilla, Lauryn Hill and D'Angelo, Johnny's music draws upon the core principles of R&B, while encompassing elements of Hip Hop, Funk, Pop, Salsa and Reggae.

Johnny has collaborated with DJ Skizz, for Mobb Deep & M.O.P., Marco Polo, Frans Mernick, Liza Colby (The Gold Setting) and led his band Bridge City Hustle, with whom he toured nationally.

As a solo artist Johnny debuted with back-to-back brand endorsements from French's Mustard and Samsung US, using them as a platform to launch his 2018 EP 'Love Through it All.' His debut album 'Gone Into The Grey' was released to critical acclaim in March of 2021 and has since been added to multiple editorial playlists by Spotify, Apple Music and Tidal, creating exponential growth. In 2022, Burgos' song 'Wild About You' was heard as the soundtrack to Neiman Marcus' "It's Your Moment" global streaming campaign. Johnny's currently amid promoting his latest album, The Tangent Tape, performing with his band The Butter, recording new collaborations and preparing his upcoming LP with Jeremy Page & LRK Records.

credits

releases June 28, 2024

500 only pressed. 80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7”. Taken from their forthcoming album, Viva Lone Justice, ‘Teenage Kicks’ is a rambunctious slice of punk angst that sounds like it was recorded in one take. It’s a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey’s only solo hit ‘A Good Heart’, Lone Justice cover The Undertones’ Peel-approved favourite with the artwork of the single being a nod to the original. “As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice").” Backed with ‘Nothing Can Stop My Loving You’ that’s cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. “Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // “A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State.

"Microcastles" ist der Nachfolger des hoch gelobten Deerhunter-Albums "Cryptograms" (2006). Und wie es scheint, macht Bradford Cox (Atlas Sound) sein Versprechen wahr: "My punk days are over!", tönt der Leadsänger und kreative Kopf der Band auf MySpace. Tatsächlich überrascht "Microcastle" mit lockerem Charme und lässt nur noch stellenweise den wilden Garage-Sound der frühen Deerhunter aufleben. Das beinahe schon sakrale "Activa" unterstreicht das vielseitige und klare Songwriting der Band, während "Saved By Old Times" mit einer so kickenden Gitarre daherkommt, dass es auch auf ein Album von Dave Mathews passen würde.

"Direct heir to the fusions of Maloya rhythms from Réunion Island, like Alain Peters, Danyel Waro, René Lacaille... Bonbon Vodou is the sweet and sour confectionery concocted by Oriane Lacaille and JereM Boucris. Bathed in the sweetness of clear voices and carried by a devastating groove, Bonbon Vodou distills joy and propagates a trance wave.

Bonbon Vodou renews in French and Reunion Creole the melodic-fantastic marriage of grouple (couple group) Areski B./B. Fountain.

On her unique mini-drums, Oriane makes bodies shake to the pulsations of the Island of Meeting. JereM, with his oil can body guitar and North African reminiscences, hybridizes these rhythms of heady melodies.

The creoleness of Bonbon Vodou is expressed in a bonfire, which summons Brassens in choir as well as the explosive ternary of the Indian Ocean. To make this fire crackle a little more, the duo joins in a fantasized “side band”: the Piment Piment, three captivating musicians for an enhanced Bonbon Vodou formula. Roland Seilhes: the pied-noir blanc-bec at the hips (sax, clarinets and flute) Juliette Minvielle: the aerial wildness of Béarn (string drum, keyboards and percussion) Yann-Lou Bertrand: Panam ivory (bass, flute, trumpet, percussion)

Bonbon Vodou as a quintet explores even more deeply maloya and the mosaic of swaying and telluric rhythms gleaned from the four cardinal points.

If the duo adopted the Creole spelling of AFRODIZIAK it is because it extends the very real dream of their African roots.

Singing about the beauty of crossbreeding and the harshness of metic life.

The quest for hidden treasure, the lives of migrations and island lives are imbued with it.

“Bonbon Vodou sides with the practices of enchantment” Vinciane Despret "

* The title Afrodisiak quotes “We love life as much as possible” by Palestinian poet Mahmoud Darwish

Through the folded sky to America

Ten albums in three years. That's still the cosmic mission of the Berlin post-kraut trio YELKA with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier.

With the album "For," there was a Label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. Karaoke Kalk is a friendly label founded in Cologne known for establishing the Berlin post-wende scene (fall of the wall scene).

The trio's fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover "The Crystal Ship," were created in 5 days in the studio, mostly on the first or second take, but with significantly more overdubs - keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of "For" has become warmer, and the album begins with a kind of 60s-Kinks feeling. Overall, the current record has become much more exuberant - like Alice in Wonderland, YELKA seem to want to restore innocence to things in the opener "Smile (Into Skies)," resulting in an uplifting hiking song for experimental outdoor bohemians.

The follow-up piece "The Boar" speaks to everyone from the north, south, west, and east and here YELKA encounter a horde of wild boars on their travels, before the vocals become hardly understandable and ghostly spooled in reverse, suddenly sounding like Damo Suzuki from CAN at the height of Tago-Mago times.

Finally, YELKA‘s "Crystal Ship," simply sails away with the wild boars into remote 4D worlds between the Cocteau Twins and X-Mal Deutschland.

In the first instrumental of the album "Is this enough?", the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and we dive deeper and deeper into the endless sky until YELKA finally arrive on newly trodden sound paths with "MM" to their beginnings on their debut album "Nowhere Jive." At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment: "Sie wissen" (They know), he knows that too! Surely Rolf-Ulrich Kaiser would have had a lot of fun with his shamanistic singing on his "Kosmische Kuriere" label. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track "Skies."

Finally, we land in Amerika, or rather, YELKA ponder the melancholic question of whether anyone still wants to travel to America with them, to the land of unlimited possibilities, the haven for artist souls all over the world. "Do you wanna dance?" Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats "Cold dogs, cool cats." The whole band sings. Everything sounds good.

The long running vessel for Cameron Stallones' psychedelic excursions, Sun Araw, returns to Discrepant after last year's split with Tarzana via Keroxen sister label (KRXN033).
Without much precedent in his own - already wide-ranging - back-catalog, 'Cetacean  Sensation' discards the dubby vibes, psych-rock sunburnt jams, tropical visions, or stalking sensibilities of such classic efforts as 'On Patrol' or 'Ancient Romans' towards a deeply focused and vivid solitary approach, while still retaining this Sun Araw blissed out escapist feeling.
Composed of hydrophone recordings of whales and dolphins sourced during a summer in Galicia, 'Cetacean Sensation' paints an impressionistic and sensory floating canvas that expertly escapes both academic-like documentarian purposes and any new-age spa vibrations one could associate with such subject matter. Processing those raw recordings into alluring collages that flow gracefully between moments of clear eco-location  and submerged impressions of wildlife social dynamics. By the third track - Dance of the Minke - we're introduced to this ringing MIDI tone that evokes a CD-ROM era of mystic educational programs and click-and-deploy strategies  that still feel very much like an unfulfilled future, conjured again by 'Spider Crab Elegy's sparse keyboard pads and sound effects that give way to this properly elegiac tentative melody. 'The Spider Crab Point' ends the album on a more uneasy vibe, with synth tones pointing towards no particular direction, confounding and strangely inviting at the same time. As sensations often do.
Music written and produced by Cameron Stallones using hydrophones and digital synthesisRecorded in 2019 in Galicia, ES
Mastering by Rashad Becker