Buscar:dinosaur

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

The (seventh) new Half-handed Cloud album, ‘Flutterama’, is
a record of 18 jubilant indie-pop songs by John Ringhofer
that investigate spiritual incompetence with lively
arrangements and radiant melodies that skilfully dissolve into
deterioration using herky-jerky tape manipulation, analogue
wow-and-flutter, and an animated orchestra of homerecorded sound effects.
 Ringhofer’s work on ‘Flutterama’ was inspired by Frances
Mary Hunter Gordon’s adolescent liturgies (recorded at
Abbey Road during The Beatles era), turbid sights and
sounds in Guy Maddin films, audaciously bold forms in Sister
Corita Kent’s devotional printmaking, the exquisite brittleness
of Elizabeth Cotten’s voice, Alberto Burri’s stitched wound
burlap assemblages, Alvar Aalto church design, Andrea
Büttner’s poverty-informed artwork, Lou Barlow/Dinosaur Jr’s
lo-fi ‘Poledo’ sound collage (which namechecks Jesus), Julie
Canlis book ‘A Theology of the Ordinary’, Wallace Berman’s
visual collage, and The Raincoats’ magnificently shaky DIY
aesthetic.
 The album’s tape-fiddled tunes - recorded on the very same
16-track recorder last serviced by a sound technician who
also worked with The Beach Boys in their home studio -
employ surprisingly little synthesizer (“it felt like cheating,”
says Ringhofer) - he preferred to craft most of the album’s
effects the long way, frequently going behind the back of rock
instrumentation by hand-feeding ½” magnetic reel recordings
of chord organs, deflating balloons, some guitars, piano
(occasionally tracked with a baby on his lap), brass,
tablecloth swipes, and a quickly-cranked half-speed music
box. He was assisted by long-time Half-handed Cloud
contributor Brandon Buckner on drums, and single song
backing vocals from Anacortes, WA songsmith John Van
Deusen.
 LP pressed on Opaque Brown vinyl

Man muss sich nur kurz mit dem Indie-Rock-Trio unterhalten, um die innige Wärme ihrer starken Verbundenheit zu spüren, die drei jungen Musikerinnen sind beste Freunde. Diese persönliche Nähe schimmert auch auf ihrem Debütalbum "Versions of Modern Performance" durch. Penelope Lowenstein (Gitarre, Gesang), Nora Cheng (Gitarre, Gesang) und Gigi Reece (Schlagzeug) machen alles gemeinsam, vom Songwriting über den wechselnden Gesang und den Tausch von Instrumenten bis hin zum Sound- und Visual Art-Design. "Versions of Modern Performance" wurde mit John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) im Electrical Audio-Studio aufgenommen. "Es ist unser erstes Album. Wir hatten bei Agnello sofort das Gefühl, dass er wirklich respektiert, was wir zu tun versuchten", sagt die Band. Horsegirl spielen auf dem Album gekonnt mit Texturen, Formen und Schattierungen und zeigen ihre Vorliebe für Improvisationen und Experimente. Der Opener "Anti-glory" ist schillernder Post-Punk-Song. "Dirtbag Transformation (Still Dirty)" und "World of Pots and Pans" haben einen rauen Pop-Charme. "The Fall of Horsegirl" besticht wiederum durch seine scharfen Konturen und einem kantigen Sound. Man kann in ihrer Musik Elemente der Independent-Musik der 80er und 90er Jahre hören, die Sounds die Horsegirl so sehr lieben - die schraddelige Melodik dessen, was man früher "College-Rock" nannte, den kühlen und sprudelnden Space-Age-Glanz der 90er-Jahre, das laute Dröhnen von Shoegaze, die sparsamen Hooks und Rhythmen von Post-Punk. Sogar ein bisschen No-Wave ist mit dabei. Horsegirl vermischen die Einflüsse zu einem Sound einer neuen Generation, für die die 90er-Jahre Lichtjahre entfernt zurückliegen und gleichzeitig doch so nah sind.

Man muss sich nur kurz mit dem Indie-Rock-Trio unterhalten, um die innige Wärme ihrer starken Verbundenheit zu spüren, die drei jungen Musikerinnen sind beste Freunde. Diese persönliche Nähe schimmert auch auf ihrem Debütalbum "Versions of Modern Performance" durch. Penelope Lowenstein (Gitarre, Gesang), Nora Cheng (Gitarre, Gesang) und Gigi Reece (Schlagzeug) machen alles gemeinsam, vom Songwriting über den wechselnden Gesang und den Tausch von Instrumenten bis hin zum Sound- und Visual Art-Design. "Versions of Modern Performance" wurde mit John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) im Electrical Audio-Studio aufgenommen. "Es ist unser erstes Album. Wir hatten bei Agnello sofort das Gefühl, dass er wirklich respektiert, was wir zu tun versuchten", sagt die Band. Horsegirl spielen auf dem Album gekonnt mit Texturen, Formen und Schattierungen und zeigen ihre Vorliebe für Improvisationen und Experimente. Der Opener "Anti-glory" ist schillernder Post-Punk-Song. "Dirtbag Transformation (Still Dirty)" und "World of Pots and Pans" haben einen rauen Pop-Charme. "The Fall of Horsegirl" besticht wiederum durch seine scharfen Konturen und einem kantigen Sound. Man kann in ihrer Musik Elemente der Independent-Musik der 80er und 90er Jahre hören, die Sounds die Horsegirl so sehr lieben - die schraddelige Melodik dessen, was man früher "College-Rock" nannte, den kühlen und sprudelnden Space-Age-Glanz der 90er-Jahre, das laute Dröhnen von Shoegaze, die sparsamen Hooks und Rhythmen von Post-Punk. Sogar ein bisschen No-Wave ist mit dabei. Horsegirl vermischen die Einflüsse zu einem Sound einer neuen Generation, für die die 90er-Jahre Lichtjahre entfernt zurückliegen und gleichzeitig doch so nah sind.

TOXIC WASTE represents the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) - the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert.

Having already solidified his reputation within the
past year, gaining praise from key publications
including Dork and Gigwise, alongside spins on
BBC Radio 1 (Jack Saunders) and BBC 6 Music
(Shaun Keaveny, Huw Stephens), Jaws The Shark
is certainly swimming in a sea of potential, and
with support slots for Dinosaur Pile Up imminent,
his presence across the indie landscape is primed
to become even bigger in the months to come.
 Produced by Theo Verney (FUR, FEET, Lazarus
Kane, English Teacher), Jaws The Shark’s ‘Still
Young’ is out via Nice Swan Records.

Proudly presenting RIP Swirl’s first full length “Blurry”!
A selection of 15 tracks: heady, outsider music with a soft spot for pop culture.
Influenced by bands like My bloody Valentine, Dinosaur Jr. and Boards Of Canada as well as 90s Skateboard Video Soundtracks, RIP Swirl unfolds his very own notion of a soundtrack to a modern suburbia, at times harsh, melancholic, dreamy and never defined by genre…
Guest appearances feature Andreya Casablanca, Catnapp, Clayjay and YdeGirl.

For more than twenty years, Duquette Johnston has been amongst the vanguard of Alabama music. From the founding of the seminal indie-rock band Verbena, his work in Cutgrass and the Gum Creek Killers, to his acclaimed solo releases "Etowah" and "Rabbit Runs a Destiny", Johnston has consistently pushed the boundaries of what Southern American music can sound and feel like. On his latest, "The Social Animals", Johnston partnered with producer John Agnello and an all-star cast of players including Sonic Youth's Steve Shelley to create his boldest and most powerful music to date. In a career that's taken him from stages with Pavement, Foo Fighters and The Strokes, to the Etowah County Correctional Facility, and then into the world of fashion with his Birmingham based company Club Duquette, Johnston has gone to the edge and survived. On "The Social Animals", he opens the door into that experience with eleven songs that present a lush, loud, and eloquent meditation on the human experience. Producd by John Agnello (Dinosaur, Jr, Waxahatchee). Features Steve Shelley (Sonic Youth) on drums. Former member of influential 90’s indie rock group Verbena. Press from Shorefire Media, AAA radio campaign planned. Partnerships planned with Levi’s and Topo Designs. Full tour planned for 2022. Last records have received accolades from Rolling Stone, Paste, The Bitter Southerner, MOJO, Uncut and NPR.

Limited to 300 copies. Vinyl green bottle

Originally released in 1973 on Philips. One of the best UK Folk albums ever. Highly recommended if you like Heron, Syd Barrett, Nick Drake, Simon & Garfunkel.

Evensong's self-titled album is a high-prized UK folk-pop artifact. The duo's fragile, harmony-drenched songs are given instrumental muscle by seasoned session players Clem Cattini, B. J. Cole and Herbie Flowers, and ornate string arrangements courtesy of former Spencer Davis Group guitarist Ray Fenwick.

Reissue from King Crimson 1995 album!

Remastered on 200g heavyweight vinyl.

It’s been ten years since Sadie Dupuis recorded the first Speedy Ortiz songs, a solo experiment that quickly became her full-time band. Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. As the new project fielded show offers from favorite show spaces like Death By Audio and Shea Stadium, these early tracks became the springboard for the playfully melodic and cleverly distorted style for which Speedy Ortiz as a full band is celebrated. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP The Death of Speedy Ortiz & Cop Kicker…Forever, alongside previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era.

The tracks on The Death of Speedy Ortiz & Cop Kicker…Forever were written after student-created prompts while Dupuis was teaching a songwriting class at the same summer camp where she’d first learned guitar. "Hexxy Sadie” was written in an hour, like the rest of the songs, and on Dupuis’ twenty-third birthday; using explosive riffs and distorted harmonies, she explores her uncertain yearning as a twinless twin. "Frankenweenie" came from the prompt “dog,” and over brooding piano, spry tambourine, and eruptive snare, Dupuis sings from the perspective of a dead childhood pet about forgiveness. “Cutco,” which navigates tricky chord changes with deft guitar passages and ironic deadpan, grins at the bitterness of friendships gone awry. These early songs highlighted Dupuis’ remarkable talent at dissecting specific emotions and moments, analyzing the many ways the pieces fit together, and scrutinizing the places where they don’t.

During the recording process, Dupuis was inspired by the impulsive DIY methods of artists like Elliott Smith and Sparklehorse; a mixing note from September 2011 read, “It's important for the 'concept' of this 'album' that I don't redo anything.” The Death of Speedy Ortiz & Cop Kicker…Forever still holds onto the magic immediacy of lo-fi recordings, but this reissue is helped by the technical know-how gained through Dupuis’ solo production work as Sad13 (Lizzo, Backxwash). Remixing in 2021, Dupuis cleaned up edits on her triple-tracked drums, made space for instrumental flourishes performed on eclectic instruments like cello, banjo and timpani, and rewired digital sounds to warm up the layers of intersecting guitars. Co-mixer Justin Pizzoferrato (Dinosaur Jr., Sebadoh), who worked with Speedy on Sports EP, Major Arcana, and Real Hair, further clarified the mix with analog compressors, and mastering engineer Emily Lazar (Liz Phair, HAIM) added a glossy sheen to the stratified bombast.

As Dupuis’ cult-beloved early material finally re-enters the world in a substantive way, The Death of Speedy Ortiz & Cop Kicker…Forever is a seamless fit to the Speedy Ortiz discography that succeeded it, and evidence that Speedy’s biting lyrics, intricate compositions, and daring performances have been inherent to the project since its outset.

Originally released on cassette in 1994 and now for the first time on vinyl, this is an incredible document from a teenage Arrington de Dionyso. All the seeds of his 30+ career are engrained on these fully formed Tascam recordings. From Arrington: "Orga Ar is how Old Time Relijun came into being. It was the first time I ever had a "real" drummer (Bryce Panic) come in to give me some tracks to build songs with, and then I had Aaron come in and play upright bass on one tune (Qiyamat). When they heard the tape they both asked me if I had ever thought about starting a band and getting some shows organized. It's so weird to imagine now, because I really didn't have my shit together to do the kind of live performance I wanted to do all by myself. So the idea was that we would start with the songs on the tape but allow them to "breathe" in the live setting. I think at first I really wanted the band to be mostly improvisational, and just using the lyrics as a way to have continuity. But after a lot of trial and error in setting up our own shows we decided that having a more structured setlist had better results in getting people to dance. The Olympia scene at that time was kind of "anti-dance party"- most of the punk shows downtown were heavily politicized and were more about the connected activism than about the music per se. For me at the time, I felt like the REAL "political statement" that needed to be made was for the music to be an affirmation of one's physicality, that movement and enthusiasm were both OK and sometimes necessary for self-and-social liberation. We weren't popular at all in the "scene" until years later, in fact all of our US tours were disastrous until we were invited to tour in Europe by an Italian fan who organized everything in 12 different countries. In pre-internet era Olympia, our only aims were playing fun shows for our friends, with little regard for reaching the outside world."

‘Little Eden’ glows with vintage McCartney-esque couplets before rolling out a chiming signature riff on ‘As I Lay Down To Die’ and adopting Jimi-like phrasing on ‘And Away We Go’.

A psychedelically-hewn panoramic take on brutalism Britain punctuated with pure pop melodies and beautifully-observed English melancholy.

This is an album that rekindles your love of music – from the harmonies that are oh-so Teenage Fanclub and Lemonheads, to the grunge and awe of Dinosaur Jr.
There’s perspective and retrospective tale-spinning where we wait “for the wonderful world to come” (©‘Start Burning’), an imaginary future soundtracked by the spirit of Arthur Lee, brought into focus with witty wordplay on songs that are littered with spine tingling guitar breaks.
A brand new album from national treasures The Bevis Frond.

“A cult favourite.” Pitchfork

Just what you want from “the E17 psych guru.” MOJO

“Harking back to the liberating songcraft of The Beatles, but with a jagged edge.” Classic Rock

“Still mixing pop, punk and psych to giddy effect.” The Guardian

Having taken a break from music for a few years, South London’s ME REX began life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop. Armed with a slew of “surging gargantuan hooks” and themes of friendship, forgiveness, joy and dinosaurs, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). Now, graduated from producing songs at home to recording at Resident Studios in North London with Mandell behind the mixing desk: ME REX spent the latter half of 2020 bashing down the doors to the indie world with double EP ‘Triceratops/Stegosuarus’. Finding their penchant for constructing delicate threads of vocal layering to convey feelings of calm while building on luscious swathes of reverberated guitar and keys on single ‘Rites’, the band are not afraid to explore different musical concepts: shaping material that strays from traditional album and single structures that results in a sound that could easily find a home on the big screen as they do behind closed doors. Described as “making for both a potent and cathartic listen all round” by DIY magazine — as well as seeing praise from Stereogum, BBC 6Music, Radio X, Amazing Radio, For The Rabbits and Circuit Sweet — ME REX are back with a new and ambitious project ‘Megabear’, an album made up of 52 tracks that has no beginning or end but exists as a cyclical body of work.

Thalia Zedek is an artist of immutable stature and
unceasing vitality. The legendary songwriter’s fiery voice
and frank lyricism give her songs emotional potency and
stark beauty. Zedek is able to distill complex events into
simple, clear and, at times, monumentally weighty
moments with a singular grace. Through ballads or bluster,
Zedek imbues her music with unguarded honesty. ‘Perfect
Vision’ examines the anxiety and pain of rising divisions
between people both physical and ideological. Zedek
transmutes fervour and resilience into sobering laments,
while her lush arrangements wrap the listener in an often
complex emotional message.
‘Perfect Vision’ follows the 2018 ‘Fighting Season’, created
in the midst of growing tensions across the US. On
‘Fighting Season’ Zedek sought resistance, where on
‘Perfect Vision’ she searches for clarity during a time of
exponential isolation and doubt. Every challenge and
sadness Zedek forces us to see is met in equal measure
by her defiant guitar and dissenting voice, a torch
illuminating a path for the listener to navigate through the
darkness.
Features Winston Braman, Gavin McCarthy (E, Karate)
and guests Brian Carpenter (Beat Circus, Ghost Train
Orchestra), Alison Chesley (Helen Money), David Michael
Curry (Boxhead Ensemble, Dinosaur Annex Music
Ensemble, Willard Grant Conspiracy), Mel Lederman
(Victory at Sea) and Karen Sarkisian.
CD in gatefold packaging with lyrics. LP in full colour jacket
and inner sleeve with lyrics. Vinyl packaged with digital
download card.

The album follows Stevenson’s 2019 career milestone The Big Freeze,
celebrated for its ‘finely detailed, wrenchingly intimate songwriting’
(All Songs Considered), and a 2020 NPR Tiny Desk
(counted as one of the year’s 20 Best).
Produced by John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile,) at The Building in Marlboro, NY, Laura Stevenson is an altogether beautiful record, a sincere portrait of a human heart in all its vibrant colors.
More than anything, it is about bearing one’s whole self in the face of those you love’uncomfortable, and exposed, but vital, present. Here.

Aufgenommen im Herbst 2020 in den Middle Farm Studios in Großbritannien, markiert "Thirstier" eine Wende zu einem größeren, bombastischeren Sound für TORRES. Die ängstliche Stille, die sich über einen Großteil von Scotts früherer Musik legte, wird in Songs, die für die Feier nach der Seuche zugeschnitten sind, auf den Kopf gestellt. Scott hat das Album zusammen mit Rob Ellis und Peter Miles produziert und dabei auf ihre Erfahrungen mit der Eigenproduktion von "Silver Tongue" zurückgegriffen, um ihre Musik auf eine noch breitere Basis zu stellen. Gitarrengetriebene Soundwände, die an die Arbeit von Produzent Butch Vig mit Garbage und Nirvana erinnern, wogt und zerstreut sich wie die Brandung bei starkem Wind und trägt Scotts souveräne Stimme in den Vordergrund. "Thirstier", der Nachfolger von "Silver Tongue" aus dem Jahr 2020, ist Scotts bisher überschwänglichste und gewagteste Platte, die sie im aufregenden freien Fall zeigt. Das Album revoltiert gegen den grauen Luftzug der Zeit, eine sengende und lebensbejahende Eruption eines Albums, das sich fragt, was passieren könnte, wenn wir einen Weg fänden, unsere Fantasien unerschöpflich zu machen. "Thirstier" sprengt die Grenzen der imaginativen Möglichkeiten.

Aufgenommen im Herbst 2020 in den Middle Farm Studios in Großbritannien, markiert "Thirstier" eine Wende zu einem größeren, bombastischeren Sound für TORRES. Die ängstliche Stille, die sich über einen Großteil von Scotts früherer Musik legte, wird in Songs, die für die Feier nach der Seuche zugeschnitten sind, auf den Kopf gestellt. Scott hat das Album zusammen mit Rob Ellis und Peter Miles produziert und dabei auf ihre Erfahrungen mit der Eigenproduktion von "Silver Tongue" zurückgegriffen, um ihre Musik auf eine noch breitere Basis zu stellen. Gitarrengetriebene Soundwände, die an die Arbeit von Produzent Butch Vig mit Garbage und Nirvana erinnern, wogt und zerstreut sich wie die Brandung bei starkem Wind und trägt Scotts souveräne Stimme in den Vordergrund. "Thirstier", der Nachfolger von "Silver Tongue" aus dem Jahr 2020, ist Scotts bisher überschwänglichste und gewagteste Platte, die sie im aufregenden freien Fall zeigt. Das Album revoltiert gegen den grauen Luftzug der Zeit, eine sengende und lebensbejahende Eruption eines Albums, das sich fragt, was passieren könnte, wenn wir einen Weg fänden, unsere Fantasien unerschöpflich zu machen. "Thirstier" sprengt die Grenzen der imaginativen Möglichkeiten.

Akron, Ohio's If These Trees Could Talk blend metal with sprawling post-rock to create their own brand of contemplative and kinetic instrumental rock. "Red Forest is a lush, epic tongue bath of an album, the aural equivalent of a long mediation session in which new levels of consciousness are attained. We love it — and we’re confident you will, too. " - Metal Sucks

The New Studio Album Of Epic Black Heavy Metal From The
Norwegian Legends
“Five heavy dinosaurs looking in wonder and bewilderment at the stars” Fenriz
With the highly revered Norwegians remaining ever-dedicated to the art of the
riff after 35 years of existence, Darkthrone return for album number nineteen
and a new dose of metallic godliness. On the back of 2019’s triumphant ‘Old
Star’ opus, the duo of Nocturno Culto & Fenriz present a 41-minute maelstrom
of Epic Black Heavy Metal across five sprawling compositions.
Organic and dynamic, the album is an exploration of the very finest vintage
metal and the best of doom, all delivered in the unmistakable Darkthrone style,
whilst also incorporating instruments such as the Moog to further expand upon
these soundscapes.
Eschewing the process of using their own Necrohell II studios - which has
served the band so well over the last 15 years - & welcoming a change of environment and the opportunity to experiment with new ideas, ‘Eternal Hails......’
was recorded at Chaka Khan Studio in Oslo, & engineered by Ole Ovstedal &
Silje H gevold, breathing new life into the sound while retaining the essence of
Darkthrone’s natural, raw feeling.
The cover artwork features the piece “Pluto and Charon” (1972), from renowned science fiction artist David A. Hardy; a hugely inspirational image for
both Fenriz & Nocturno Culto spanning several decades, and this also stands
as a symbolic link between the genre-bending styles apparent on Darkthrone’s
earliest works, to those same traits evident on ‘Eternal Hails......’.

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

The sensation was perfect – Helloween, who have sold more than 10 million records worldwide, being one of the most respected German metal bands since 1984, announced their PUMPKINS UNITED WORLD TOUR in 2016. The media was raving about the TOUR OF THE YEAR, playing 69 shows in 32 countries all over the world. More than one million fans on three continents were ecstatic because it was not only a reunion of the original band, it was the summit of seven ultimate HELLOWEEN heroes: Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner & Dani Löble. Or to put it simple: it was a dream come true for fans around the world, the band received five times more spectators and all of them had only one wish: »Please stay together!«

Following the excitement, one of the biggest magazines in this genre ‘BURRN!’ (Japan) honored the band with four unbelievable cover stories, this was followed by the thunderstorm of the century within the social media universe, a celebrated PUMPKINS UNITED single and the quenchless hunger for more – much more! And yes, the musicians tasted blood and it was clear: there is no way back – the future of HELLOWEEN will be written in unity. It marked the beginning of a new era and the re-birth of a metal legend with exceptional artists.
Their first new album will be released in summer 2021. Flatten the runway with a loud drumbeat: in April 2021 the spectacular single SKYFALL will be released. The 12 minute epic, written by Kai Hansen has the long yearned ‘Keeper-Vibe’ but it isn’t telling the story of the whole album. SKYFALL has a musical arch which will be loved by fans of every era: from unforgettable times to glorious adventures all the way to the upcoming first album of the HELLOWEEN new age. The epic track tells about an alien landing on earth and a dramatic chase while Hansen, Kiske and Deris duel with each other in a breathtaking manner and create a broadband adventure - with a lyric sheet with colored blocks identifying the singers as well as a video that is formidable. Produced by Martin Häusler, it will be the most elaborate clip in the history of the band, the story to be shown with 3-D animation and looking cinematic – in these times almost a dinosaur in implementation.
The base of the upcoming milestone album was already erected in the studio: using the original Ingo Schwichtenberg drum kit, the recording was done with the same modulators at the Hamburg HOME studios where back then ‘Master of The Rings’, ‘Time of the Oath’ and ‘Better than Raw’ was recorded. Back to the roots and completely analog is the UNITED impact - another great work by well-known producer Charlie Bauerfeind and Co-producer Dennis Ward before the album traveled to New York and got the final mastering polish in the Valhalla Studios of Ronald Prent (Iron Maiden, Depeche Mode, Rammstein).
With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing that the essence of the band was never more solid.

The artwork of Eliran Kantor (Berlin) is clear: SKYFALL is the beginning of something big – here comes HELLOWEEN.

Angel Tears in Sunlight is Pauline Anna Strom's first album in over thirty years; an assemblage of music that refracts the expansiveness, and minutiae, of imagined realms while embracing the kaleidoscopic echoes of our distant epochs. The capacity to collapse time might elucidate the enigma of Pauline Anna Strom. A mystic force in music, emerging during the dawn of new age as the Trans-Millenia Consort, the pioneering synthesist channelled primordial energies into future-facing sound through a series of full-length releases between 1982 and 1988. Little was known about her, except by a constellation of devoted followers who saw a unique legacy forming amidst the (mostly male) synthesist canon of the time. Following the 2017 release of Trans-Millenia Music, an anthology revitalizing the most evocative parts of Strom's catalog, the Bay Area visionary sensed the universe telling her to return to music. As with her work in the 80s, Angel Tears in Sunlight was composed and recorded in the same San Francisco apartment where Strom has lived for almost four decades in synthesis with her machines and "dinosaurs." Populated by a compact array of modern instruments that streamline the sound of her analog past and her beloved iguanas, Little Soulstice and Ms Huff, the terrarium of her home forms an intimate yet limitless ecosystem that defies the constraints of the outside world. Within this sanctuary, Strom becomes lost in time, drawing on the ancient energies of her inner visions. Her hardware forms the crux of translating these ideas into sound. "It's the only way this stuff can be pulled out of myself, the universe, Little Soulstice, an ammonite_," Strom notes. "It couldn't be done without this machinery, because there's no other way to draw and capture these frequencies into sonic interpretation." Strom's process of recording transient live-takes enriches the mystery of her work. She renders the machinery a composer itself, a cohabitation with a living other. "Many musicians wouldn't go that far because of ego," Strom muses. "The equipment has to become part of you and your creativity. That's how I think it all comes together." Music-making becomes a harmonic language of intuition with an instrument, where Strom cultivates sound for a harvest that defies season. Shaped by circadian contours, Angel Tears in Sunlight is a celestial observatory of earthborn phonic mosaics. Strom uncovers a symbiosis between hardware frequencies and apparitions of nature in the record's arena of organic tones, emulating the melodic pulses of primeval terrain. The album transcends both shadow and light, falling to hushed stretches of sound as if not to awaken antediluvian animals, before soaring through the treetops where ancient skies peer over reptilian traffic and unsparing rains.

The Gordons crashed upon the do-it-yourself scene of early 1980s Christchurch with torrential force, self-releasing two foundational planks of the vibrant New Zealand underground. Future Shock, a three-song 7-inch released in 1980, is a wild-eyed rampage, as staggering as any feedback-addled punk then being recorded at Southern Studios. The Gordons LP, which followed in 1981, matches the abandon with motorik churn and livewire dissonance, evoking New Zealand antecedents as divergent as This Kind Of Punishment and the Dead C. Brought together on this release, they’re a noise-rock landmark anticipating fans such as Sonic Youth.

Flying Nun Records, the storied Christchurch label and symbol of the island nation’s rich independent music scene, re-released The Gordons and Future Shock together in 1988 following the formation of Gordons outgrowth Bailter Space, which frontman Alister Parker founded with Clean drummer Hamish Kilgour. Bailter Space, which would also come to include founding Gordons members Brent McLachlan and John Halvorsen, settled on a droning shoegaze sound, drawing comparisons to Dinosaur Jr. and the Pixies. The Gordons and Future Shock, however, represent the trio’s unreformed id, as startling today as upon release.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

FAR are excited to bring Chris Coco and DJ Rocca to the label for this release. Both artists need no introduction to Balearic /House and Disco aficionados, the pair have both notched up stunning solo musical releases.

Meeting at La Casella festival in Italy in the summer of 2019, the duo decided to team up in the studio resulting in the ''Discoteca'' EP, a shimmering slice of Balearic, Disco House containing all the right ingredients and forward motion required for maximum sunshine or nightime connection.

On A1 Discoteca (The Heavy Fun Dub Mix), they manage to create a heady cocktail of synth riffs, ARhodes and Guitars all underpinned by a solid bass line, nodding to the Jazz funk of Atmosphere with the edge of Dinosaur L recording in Italy circa 1982. AAntonio prosper turns up on vocals, whispering, and chanting, evoking imagery of a night out in the mid-summer heat somewhere in southern Europe.

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Das für den GRAMMY nominierte Duo ODESZA und der bahnbrechende australische Produzent Golden Features veröffentlichen neues gemeinsames Album als BRONSON.

BRONSON wurde gegründet, als die ODESZA-Mitglieder Harrison Mills und Clayton Knight 2014 bei einem australischen Musikfestival auf Tom Stell von Golden Features trafen. Die drei teilten ihre gegenseitige Bewunderung für die Auftritte der jeweils anderen und blieben in Kontakt, indem sie Musik über Zeitzonen und Kontinente hinweg über Dropbox-Dateien und FaceTime-Anrufe austauschten. Das Aufeinandertreffen des Trios gipfelte in einem Treffen 2018, als die drei Künstler eine Woche in der abgelegenen Region von Berry in Australien verbrachten, um das aufzunehmen, was später das Debütalbum von BRONSON werden sollte. Wie aus den beiden ersten Singles hervorgeht, ziehen sich Elemente von Licht und Dunkel durch das zehn Songs starke Album, da das Oberthema von „BRONSON“ das dem Menschen innewohnenden Kampf von Licht gegen Dunkelheit widerspiegeln möchte. Die Platte kombiniert sowohl melodische Vocal-Songs als auch stimmungsvollere, tiefergehende Elektronika mit Gastbeiträgen von lau.ra (die, neben u.a. Nigel Godrich von Radiohead, Teil der experimentellen Rockband Ultraísta ist), dem gefeierten US-amerikanischen R&B-Sänger Gallant und dem britischen Produzenten Totally Enormous Extinct Dinosaurs (TEED). ODESZAs und Golden Features’ kombinierte Streamingzahlen reichen in die Milliardenhöhe und die beiden Acts haben jeweils mehrere Singles und Alben veröffentlicht, die mit Gold und Platin zertifiziert wurden. Die Künstler haben mit einer Reihe von renommierten Künstlern wie Sia, Charli XCX, Leon Bridges, Regina Spektor, Katy Perry und anderen zusammengearbeitet. Als hochgefragte Live-Acts haben die beiden Projekte zudem Millionen von Fans auf der ganzen Welt auf ihren jeweiligen Headline-Tourneen erreicht. ODESZA haben zudem legendäre Veranstaltungsorte auf der ganzen Welt ausverkauft, wie bspw. Die Verti Music Hall in Berlin, die Londoner O2 Academy Brixton, das Staples Center in Los Angeles und das Barclays Center in New York und waren Headliner auf Festivals wie Melt!, Coachella, Bonnaroo und Lollapalooza.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the third of those EPs, and its another one that many have been looking to get hold of for a long time! A timeless old skool EP and one that has been high on many a collectors wants list for decades!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

'TNT' has never released a record before (aside from the 12" we did last year), so this is a huge fucking honour to be trusted with this material. TNT Roots has continued a solo career since Earthquake quietly folded in 2002, trading short-run CDr's on Ebay and the Blood & Fire forum. His music still survives on not-for-sale dubplates - pushed exclusively by legendary 90's sounds like Aba Shanti.

The result is the Raw Dub Creator LP - a survey of his 2006 - 2018 CDr selected by Bokeh. Urgent steppas for dark dances, heavier than the grave - next evolution soundsystem muzik. These are driving militant sounds for these times made in seeming isolation in Northampton (TNT never plays live, doesn't want Bandcamp, just wants to sell his CDs quietly over email). TNT Roots' contribution to dub is seismic, almost dinosauric, but through some glitch in universe fabric, 'Mighty In Battle' Bokeh 2018 was his first official vinyl release.

As half of Earthquake - he's responsible for the darkest, forward, most slept-on future of dub to grace us. This unique and heavy vision has reset the whole game with long unavailable LPs like Revelation in Dub and Dub Harder Than Steel make obvious an understated lineage flowing from 90's steppas down to jungle, grime, hardcore, darkcore, doomcore, it's kinda pointless to list them. It's dub. TNT and Earthquake's rightful place alongside those mystic giants, Iration Steppas, is more than assured by those that know.

Marius & Cesar are brothers. The 1st has been Disc-Jockey and Art Director for a while, the 2nd, a producer and co-founder of the music studio SODASOUND for almost a decade. They grew up in a family of musicians and started learning and playing music very early.

Fatal weapon of Sodasound’s label, they’ve been DJing for years in Parisian clubs, and launched their own party called AFTERBEAT, where they perform all night long on turntables plus a few analog toys for marathon DJ sets. They are now resident DJs at RINSE and AFTERBEAT FM is their monthly radio show since 2015.

Their debut EP “B.R.O.T.H.E.R.S.” is a blend of their eclectic influences, from 80's synthetic disco to balearic techno through impressionist music, ambient or acid house. It will be out on June 21st, 2019 (digital and vinyl).

The Jazz Diaries is proud to announce NYC’s favorite underground papi Toribio will be releasing his sophomore EP June 14th 2019. Hot of-the-heels of his Gator Boots 12” for Soul Clap, which received hands in the air support from Seth Troxler, Adam Port, and Soul Clap, Toribio makes you feel at home in the club with his expressive new EP - Capicua!

Growing up playing Dominican percussion instruments from an early age, and being a staple DJ in the NYC circuit for the last 7+ years playing with a who’s who of DJs (Danny Krivit, Rick Wilhite, Louie Vega etc), Toribio expands the palette of what dance music is, fusing his Dominican roots, afro-cuban latin riddims and 90s hip-hop to create a cultural melting pot that signals a change in the guard for NYC House Music.

As Toribio rightly puts…
“Capicua!” is an expression Dominicans yell as they slam the last domino of a certain hand with belligerent righteousness. It means you win on both sides of the table no matter which way you look at it. Top to bottom. This my musical way of saying in a Dominican style... I won on both sides with this record.

This is certainly true of EP opener ‘Get Up’, which hits you on the upside with a nasty dose of p-funk over a bed of live and programmed house riddims. The record showcases Toribio’s penchant for the funky, yet rhythmically inquisitive. It is this trademark sound that permeates the record and continues its way through the acid tinged ‘Make Your Mark’, where long time friend and collaborator Byron the Aquarius steps in on remix duties - providing a lush reprise from the frenetic afro-cuban percussion found in the original mix.

Last but not least, Toribio rounds of the EP with a sensual, take your girl home cover of ‘Household’ by Totally Enormous Extinct Dinosaurs. The tune showcases the broad depth of Toribio’s musical portrait, prominently featuring his voice and guitar, further giving credence to the musicality and diasporic nature of the new Nu York, and further cementing Toribio’s place in it for years to come.

The inventors of lo-fi indie rock return with a 15-track blast of melodic melancholy, all delivered by the smudged middle finger of Dinosaur Jr original Lou Barlow…

“The auteur of the subterranean lovesick blues.” Houston Press

Their first studio album since 2013’s ‘Defend Yourself’ and their first release with Fire Records, Lou Barlow, Jason Loewenstein and Bob D'Amico return with a smorgasbord of beautifully dysfunctional tunes harking back to their finest college rock anthems.

It’s Barlow at his introverted songwriting best; matter-of-factly delivering a stream of self-questioning stories, punctuated by detuned guitars, spine-tingling time changes and throwaway one liners.
A grainy post grunge postcard wrapped in bittersweet melodies with an aftertaste that’s pure heartbreak.
More songs about growing up wrong for those who continue to act surprised at life itself - all illegibly handwritten and lovingly submitted to vinyl.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

Wild Style Lion feat. Kim Gordon how the fuck did that happen

Or better ask: how did this young band end up on a record box-set called Psych Box with Hawkwind, MC5, Nico and Kim Fowley out on Cleopatra Records
And if that was not enough they toured Europe with Dinosaur Jr. in Beyoncé's custom made night-liner for a whole freakin' month.

So you would think these guys sit back and get their hard-disks sucked but instead they keep partying and drop ecstasy at Berghain where Khan used to host a monthly party called Smegma with DJ Nd Baumecker presenting bands like The Gossip, GusGus, Opal Bastards or even Lady Gaga.

Wild Style Lion is Philipp Virus and Khan Of Finland a hard working producer-duo from Berlin. Tallmen 785 responsible for the B-side remix who already reworked for the likes of Little Dragon or his good fella Scuba.
Wild Style Lion currently working on a transgender Hip Hop project with mc BIG T shooting to drop a 12' in fall 2018 and a new full length album in spring 2019.

Anything else I forget to mention

Yours sincerely,
Khan (Of Finland)

Next up on the ever-eclectic XVI Records, a shadowy figure steps into the spotlight: enter the mysterious Captain Over, whose dark yet soulful bruk-infused tracks soundtrack the next stage of their voyage towards the sun. For his debut outing, Captain Over calls on the abstract vocal stylings of the legendary Trim (Roll Deep, 1800 Dinosaur) on opening track 'SICK'.

Showcasing why he's one of the most iconic and forward-thinking MC's to grace the mic, Trim's dulcet tones twist through a jungle of shuffled beats and subterranean sub-bass, an eerie child-like melody drifting overhead.

Clack Clack and No One Ever Really Flies inhabit a more dancefloor friendly space, their unique syncopation, fierce instrumentation and relentless energy open up the dancefloor for some real get loose moments.

On the remix, they hand the controls over to XVI homestay Books (following on from the success of his previous 'Feel It In My Bones' and 'High Praise Edits Vol 1' releases which won praise from the likes of The Black Madonna, Moodymann, Gilles Peterson and Seven Davis Jr) Books expertly crafts a cosmic footwork jam, full of his trademark soulful chords and eerie midnight saxophone licks.

As he prepares to launch his forthcoming EP 'No-One Every Really Flies' into the cosmos ; Captain Over is beginning to cement his place as one to watch in the UK underground - a sequel EP featuring grime upstart Nico Lindsay is scheduled for release later in the year, with several more collaborative works in progress.
+++

Hugo Manuel is better known by his musical alias Chad Valley. A product of Oxford's prolific
creative community, Chad Valley has amassed a catalogue that spans four studio releases,
numerous collaborations and dozens of remixes. His 2010 debut — a self-titled exploration
in swirling synths and sunburnt melodies — laid the groundwork for 2011's Equatorial
Ultravox, which gave his downtempo productions a decidedly more pop-leaning twist. It
was with Equatorial Ultravox, and his 2013 album Young Hunger, that Chad Valley's profile
sprung forward, strengthened by a string of key touring slots supporting the likes of
Erasure, CHVRCHES, Active Child and Passion Pit, and by his collaborations with El Perro Del
Mar, Glasser, Totally Enormous Extinct Dinosaurs and Twin Shadow. After releasing 2015's
sparkling Entirely New Blue and continued touring extensively, as he now prepares to
release his third full-length album in 2018. Imaginary Music includes the previously released
singles Up Again' and LA in August,' both of which bolster one of the strongest batches of
material Chad Valley has yet delivered.
Press coverage via Pitchfork, The FADER, SPIN, Gorilla vs. Bear, The Line of Best Fit
Tours supporting CHVRCHES, Erasure, Active Child, Passion Pit, Twin Shadow
Collaborations with El Perro Del Mar, Glasser, Totally Enormous Extinct Dinosaurs, Twin
Shadow

- Limited editions LP are pressed on 'sunset' color vinyl

2018 has a lot in store for London spiritual jazz outfit Emanative, with a full double LP and several remixes forthcoming, as well as some full live band appearances and DJ gigs. 'Planet B' is the band's first release of the year and it takes them in a slightly different direction, on a completely different vibration entirely, with an epic nine minute, almost post punk, afrobeat, disco and jazz inspired piece aimed at the leftfield dancefloor. The idea for this project grew from our interest in releasing the live version of the Ahmed Abdullah-written 'Lions Of Judah' (Steve Reid & The Legendary Master Brotherhood) , which appears on the B-side and was recorded live at London's famous Cafe´ OTO, an institution for experimental live music and free jazz. The version has become a Gilles Peterson favourite and a regular on his 6Music and Worldwide FM shows. Nick Woodmansey, the head of the group, wanted to include an original piece as well and so went in the studio with the band and a clear concept for recording 'Planet B'. Inspired originally by a Greenpeace poster and advert of the same name, as well as current adverse planetary situations. Musically it follows the spirit of Arthur Russell's leftfield disco of Dinosaur L project, no wave band ESG, and Sun Ra.