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Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

Autarkic is back with "Tahor", a bold sonic collage where history, nostalgia, and raw emotion collide. This limited-edition vinyl release weaves together vintage samples, archival snippets, and hypnotic beats, crafting a personal and collective memory trip.

14 tracks of euphoric highs, hazy melancholy, and wry humor.

The artist, DJ, and producer Autarkic (Nadav Spiegel) - one of the most influential underground figures in recent years and a key player in TLV electronic scene-releases a new Hebrew-language album, available as a limited-edition vinyl and on digital platforms. "Tahor" is Autarkic's sixth album and his second in Hebrew. It is entirely composed of a mosaic of samples from his personal music collection, cuts from archival recordings, and historical references that hint at events that shaped him. The result is a personal and collective memory machine - 14 tracks that take the listener on a journey through euphoric joy, subdued melancholy, and playful sarcasm.

"Tahor" is a journey that emerges from Autarkic's private consciousness, offering a sober reflection on his unwavering insistence on being an artist who neither knows nor wishes to "play the game" for popularity ultimately finding peace with himself. Throughout the album, Autarkic ventures beyond his own mind into the outside world, confronting social and political realities and adding his own musical document about life in Israel.

PURPLE TRAP, the powerful trio of KEIJI HAINO (voice, guitar), BILL LASWELL on bass and RASHIED ALI (drums), recorded live on stage at The Stone.


Recorded in december 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 BILL LASWELL made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by DIRK DRESSELHAUS (SchneiderTM) and mastered / cut by RUY MARINÉ at Dubplates & Mastering Berlin.


PURPLE TRAP, the trio of LASWELL / HAINO / ALI, reunited for this one-off gig as part of a 5-day-HAINO-festival at John Zorn's venue "The Stone", seven years after its only album Decided ... Already The Motionless Heart Of Tranquility, Tangling The Prayer Called "I" had been recorded (released on Tzadik in 1999).
The six untitled tracks (+ one as digital bonus) deliver what can be expected from such musical masters:
RASHIED ALI, iconic free jazz drummer who played with JOHN and ALICE COLTRANE, PHAROAH SANDERS, SONNY ROLLINS, JAMES BLOOD ULMER and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns.
KEIJI HAINO, one of the most prolific artists of the Japanese experimental / noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts.
BILL LASWELL, who as producer and musician created a massive body of work in fiields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like MASSACRE, PAINKILLER or (early) MATERIAL and provides the low-end grounding with his signicature bass sound, or adds effect-laden ornaments to the whole.
An overdue addition to a very small body of work by a clearly under-documented supergroup!

Credits:
KEIJI HAINO: voice, guitar BILL LASWELL: bass RASHIED ALI: drums

Recorded at The Stone, New York, december 15th, 2005. Edited by James Dellatacoma at Orange Music, West Orange, NJ. Mixed by Dirk Dresselhaus at the Zone, Berlin. Mastered & cut by Ruy Mariné at D&M, Berlin.

Layout & design by kaidoh. Cover photography by Jasmin Bär.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

The 20th installment of Saddle Creek’s Document series features Dean Johnson, the Seattle-based singer/songwriter whose heartfelt storytelling and undeniable charm have been quietly building a devoted fanbase across the globe.

For years regulars at Al’s Tavern might murmur to each other about Dean Johnson behind the bar. There were nudges and whispers that he might just be the best songwriter in town. They spoke of his talent like a family secret –Seattle folklore. How many times, and for how many years, did Dean elusively reply to some variation of the question, “When will there be a record?”

In May of 2023, there finally was. Nothing For Me, Please, Dean Johnson’s debut album, was released on his 50th birthday.

Calling him a “hidden gem” doesn’t quite fit, because there’s nothing hidden about him—he shines in plain sight. It was only a matter of time before people stopped to take notice.

Dean’s music feels like a conversation with an old friend—warm, honest, and deeply human. His songs bridge the past and present, weaving modern sensibilities with a timeless appeal. With razor-sharp wit and an uncanny ability to make you laugh and cry in the same breath, Dean’s songwriting reminds us why music matters, offering proof that a song can be more than the sum of it’s parts. Hear just a phrase of his melody, catch even a moment of the sobering depth in his voice, and you’ll feel it—like a letter written, signed, sealed, and delivered just for you.

Go see him live, and you’ll understand. That’s how he won us over—one song, one story, one unforgettable moment at a time.

This April, Jessie Wagner releases her long awaited second solo album, “War Within”
on Little Stevie Van Zandt’s Wicked Cool Records. Jessie is a true multi-talent. She is a vocalist, songwriter, actor, model and dancer who possesses a unique worldview which she shares via her very personal songs.
Many of Jessie’s current fans know her best as a featured vocalist with some of the best known and most loved names in music. She launched her career within a year of moving to New York when she became a member of the world renowned disco group Chic, with Nile Rodgers. Jessie played to sold out crowds at London’s famed O2 Arena with Chic and then later on, with Kid Rock, with whom she also performed at the Grammys. Jessie then got to tour with her personal rock idol Lenny Kravitz and is featured in his tour documentary, “Just Let Go”. She performed with Stevie Nicks and Robert Plant at the Montreux Jazz Festival and sang on the platinum selling album “Rock and Roll Jesus”.

Belgian musician and filmmaker Jef Mertens has been an active force in the experimental music and film scene for nearly two decades. Known for his documentaries on artists like Sonic Youth and Borbetomagus, as well as his work with the now-defunct Dadaist Tapes label, Mertens continues to push the boundaries of sound exploration. His previous solo works include NO MATHEMATICS, released on KRAAK/Feeding Tube Records.

With Orchid Alto, Mertens dedicates himself to the taishogoto, a Japanese stringed instrument that became a new focal point in his sonic explorations. Initially drawn to its unique tonal qualities, he approached the instrument with an open-ended curiosity, using it as a means to reshape his musical language. The transition to taishogoto marked a shift away from guitar-based compositions, offering a fresh perspective on texture and resonance. Through these explorations, Orchid Alto serves as a blueprint for new sonic possibilities.

A bold and immersive sonic journey, Orchid Alto merges traditional resonance with modern experimentalism, further shaping Mertens' artistic voice—one influenced by artists like Michael Flowers, Turner Williams Jr., and Bill Nace.

An Introduction To Syd Barrett, is a reissue of the 2010 collection that brought together for the first time the tracks of Pink Floyd and Syd Barrett on one compilation.

David Gilmour, who originally worked on Syd Barrett's two solo albums, as co-producer of The Madcap Laughs and as producer of Barrett, was the executive producer for the album. Damon Iddins and Andy Jackson at Astoria Studios remixed five tracks including ‘Octopus’, ‘She Took A Long Cool Look’, ‘Dominoes’ and ‘Here I Go’, with David Gilmour adding bass guitar to the last track. Pink Floyd's ‘Matilda Mother’ also received a fresh 2010 Mix.

The album features the original 24-page booklet and graphics plus all lyrics, and was designed including the cover art by long time Pink Floyd associate the late Storm Thorgerson and his estimable studio.

Born in Cambridge in 1946, Roger Keith 'Syd' Barrett was the primary songwriter, guitarist and original lead vocalist in the first incarnation of Pink Floyd. He formed the band in the mid-1960s with drummer Nick Mason, bassist Roger Waters and keyboard-player Richard Wright. With their groundbreaking, semi-improvised sets at the legendary UFO Club in London's Tottenham Court Road, they became the prime movers of British psychedelia.

Barrett wrote the warped pop vignettes ‘Arnold Layne’ and ‘See Emily Play’, the group's two hit singles from 1967, as well as 'Apples And Oranges', and the lion's share of the material – the dreamy ‘Matilda Mother’, ‘Chapter 24’ and the whimsical ‘Bike’ – on their debut album The Piper At The Gates Of Dawn. Recorded at EMI's famed Abbey Road Studios while the Beatles were making Sgt Pepper's Lonely Hearts Club Band, Pink Floyd's first album has proved an enduring classic, referenced by everyone from David Bowie to Spiritualized via The Damned.

Barrett contributed ‘Jugband Blues’ to A Saucerful Of Secrets, the band's follow-up, but his behaviour became increasingly erratic and he left in April 1968, a few months after the addition to the group of his Cambridge friend David Gilmour on guitar and vocals.

Syd Barrett's first solo album, The Madcap Laughs, was a long time coming but made the Top 40 on its release in January 1970. Barrett followed in November that year, and contains tracks such as ‘Baby Lemonade’ and ‘Gigolo Aunt’ that provided the names for two cult US groups in the 80s and 90s.

Over the last four decades, Syd Barrett has become the ultimate rock enigma. In 1975, he paid an eerie visit to his former band mates at Abbey Road while they were recording ‘Shine On You Crazy Diamond’, the centrepiece of the Wish You Were Here album he had inspired. He never entered a studio again. In 2001, he was the subject of a BBC Omnibus documentary.

He died in July 2006 but his legacy lives on in the music of R.E.M., Robyn Hitchcock, Julian Cope, Spiritualized, Blur and countless other groups. Earlier this year, Faber and Faber published Syd Barrett: A Very Irregular Head, an exhaustive biography by long-time fan Rob Chapman.

An Introduction To Syd Barrett provides a handy overview of this visionary talent, this madcap genius whose star shone brightly yet burnt out all too quickly.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

For the first time on vinyl, a pressing of this legendary tape released in 1993 in Colombia, documenting Ultra Metal, the country's early extreme Metal scene. Volume 1 of 2 of the vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme Metal scene, known as Ultra Metal, with styles ranging from Death Metal to Thrash and Grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground Metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.

Second and final volume of the vinyl pressing of this legendary tape released in 1993 in Colombia, documenting Ultra Metal, the country's early extreme Metal scene. Second volume completing the vinyl release vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme Metal scene, known as Ultra Metal,with styles ranging from Death Metal to Thrash and Grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground Metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.

Laura Nyro's album “Walk the Dog & Light the Light” was released on August 17, 1993, marking her return to studio recordings after a nine-year hiatus since “Mother’s Spiritual” in 1984. This album is notable as it was the last collection of original material she released during her lifetime. The album features a mix of original compositions and covers, showcasing Nyro's distinctive blend of pop, soul, and jazz influences. Notably, the track "Broken Rainbow" was previously featured in the Academy Award-winning documentary of the same name, which addressed the relocation of the Navajo people. Musicians contributing to the album include Bernard Purdie on drums, Freddie Washington on bass guitar, and guitarists Elliott Randall, Michael Landau, and Ira Siegel. The album was co-produced by Nyro and Gary Katz, known for his work with Steely Dan. The sound is smooth and soulful, with Nyro's rich and smokier vocals singing her lyrics concerning topics such as feminism, animal rights and Native American rights.

This is a recorded document performed by Mark Holub, Johanna Pärli and Sofía Salvo.

As a trio, they had not met until sound-checking for their gig at Berlin’s Cashmere Radio on September 1, 2023 — a fact that may be concealed by their immediate understanding as a musical entity but is obvious by their artistic freedom and curiosity towards each hoc encounters, flexible and steadfast in its performance, and that culminated in an experience that shook the floor of the radio station’s headquarters.

The day after, Sofía, Johanna and Mark gathered in Adam Asnan’s studio and deepened their quest for a communal language. They ignored any musical fetters or conventions, enjoyed the possibilities of a wider time frame without a live audience — and exceeded all hopes of what three personalities can achieve when they are given the space and time to experiment, detached from any restrictions.

Mark Holub is a drummer of outstanding versatility and responsiveness, full of ideas and quick on his feet. Through his playing as well as his experience as a band-leader and composer he is able to steer this coequal group towards thundering crescendo, but sits equally comfortable in the centre of complex and fine rhythm probing in response to impulses thrown in by his companions.

Johanna Pärli makes use of her double bass’s entire body, extracting an armada of multi- layered sounds with an immensely high sonic spectrum that is also reflected in the diversity of her musical projects. She is both patient and wildly adventurous in her performance, and in this trio her contribution wanders from considerate bow work to brisk fingerpicking, gnarly string strikes and pedal use to startling effects.

Sofía Salvo unleashes the full unbounded potential of her voice by taking advantage of her baritone saxophone’s broad range of possibilities. She is one of Berlin’s most singular musicians and her widely proven capabilities cover gentle additions to support and underline pulsive interplay just as masterfully as rapid licks and roaring bursts of noise, spurring the collective to unpredictable intensity.

If music of this particular kind often gives the impression of a constant search, this international trio certainly managed to find common ground and capture a special moment in time for listeners to (re-)discover. Contrary to what frequent misconception sometimes suggests, it’s also tremendous fun.

NERR — Filling Open Spaces was instantly composed and performed live in studio by Mark Holub on drums, Johanna Pärli on double bass and Sofía Salvo on baritone saxophone, recorded in Berlin on September 2, 2023 and mixed by Adam Asnan. Mastered and cut by Rashad Becker, vinyl pressed at Pallas. Artwork and design by Stefan Lingg, produced by Christoph Berg and Stefan Lingg.

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown.

This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku’s experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption.

Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles, this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation.

The haunting opening track ‘A World Between Worlds’ tackles pregnancy, of which Utku was experiencing when making this record. The emotional, physical, spiritual and mental experience of this journey is all documented here.. This track features the ‘Lyraei’, an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. ‘Comfort of The Shadows’ moves from within to without, what was once hidden is now exposed. Utku’s ability to conjure the visual in the sonic is at the forefront as howling electronics give a distinct impression of movement. ‘A Familial Curse’ presents a desire to break the cycle of generational trauma with a creeping sense of dread that rolls into an industrial rhythm prior to landing in a beautiful place represented with shimmering guitar tones. ‘Here be Dragons’ is a rich and dark evocation, a spooked surrender to the themes of the record whereby Utku’s wildly distorted voice beckons all manner of phantasmagoria over cello and recordings of her ultrasound. ‘Care in Consume’ engages in further sonic exploration as a means of conjuring ‘matriphagy’, with its unique psychic energy coursing through electronic veins. ‘A House within a House’ could also be read as a body within a body as the pulse of ultrasound audio rattle amongst a cage of thudding rhythms and swirling electronics, one also ending in optimism as an exquisite melody is born from the prior fire. The striking journey ends with the more soothing ‘Ayaz’a’, a track embracing love and all the hardships that a period of fundamental metamorphosis brings, this is a heartfelt dedication to her son and concludes an album draped in life, experience, joy and pain.

Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option.

All tracks composed,performed and recorded by Hüma Utku
Buchla 100, vocals, cello, electric guitar performed by Hüma Utku
‘’A World Between Worlds’’ features the ‘Lyraei’ built, played and recorded by Mihalis Shammas
Buchla 100 recorded in EMS Stockholm 2022-2023

Mixed by Enyang Urbiks
Mastered by Heba Kadry, NYC
Cover Artwork by Marco Ciceri
Design by Tina Frank

Some record crates deserve a sub-category called 'play it again, Sam'. tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental for synths and drums music played live. This time it was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. Let us praise Krikor Kouchian's mix: drums have been resampled with some restraint, and that Linn Drum kick lightens up the overall mix. It marks a notable evolution in the band's sound, and adds some dynamic. The album kicks off with 'No cruise control', a big bad sedan that effortlessly eats up the distance at 120 BPM. Kraut as can be, with a twist. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming : forward, straight and fluid, top-notch suspension (Cosmic Neman / Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board : mechanical birds chirp, the odd atonal piano here and there. Nerds will appreciate liner notes detailing the equipment used : about twenty synths and they still describe it as minimal. With 'Densite?', we've just passed a polyphonic milestone: outright chords ! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. That same vibe can be found in 'Jungle the Jungle', paradoxical tune, catchy and moody at once. You'll get some brass riffs in 'Helix', which takes off on a synth moving from one speaker to another to herald the crash of syncopated drums to come.Zombie Zombie sounds ready to write themes for niche TV series.'Aurillac Accident' documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live with two drummers performing, this aspect showcases in 'Snare Attack' and 'Double Z', with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on 'Dodorian', perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. 'Magnavox Odyssey', a nostalgic but bouncy synth lasagna, brings this album to a majestic close. The cover by Dddixie sets the tone with its 'Motorik Vibes & Stereo Grooves' sticker. Motorik, absolutely, it's autobahn time for 45 minutes. And when it comes to stereo grooving, the acoustic image is as wide as the canyons of Mars. DO NOT MISS THIS ALBUM (or the previous Vae Vobis)!

Also includes a large double sided poster , colour inner sleeves and liner notes by Gerald V Casale.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version.


For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.



This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.



This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. A 3xCD digipak version is also available. Submit to these findings and witness audio mutation in action.

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Reissued for the first time, the third album by the UK reggae band originally released on Vulcan in 1976, considered by many as their masterpiece. Including one bonus track.
Known as the first British reggae unit – often working as a backing band for several Jamaican musicians heading to the UK at the time such as Jimmy Cliff and Bob Marley - The Cimarons also worked as a session band for Trojan records. Propelled by a fantastic documentary on their career - “Harder Than The Rock” officially screened in UK cinemas in late 2024.

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

An intimate recording from the Blues hall-of-famer that puts you in the room with 3 Blues legends!

Remastered by multiple Grammy winner Michael Graves.

One of Candid’s historic blues releases, Memphis Slim, U.S.A. finds the Blues Hall Of Fame inductee in a rare, relaxed setting with two close friends and fellow blues icons, Jazz Gillum and Arbee Stidham. The intimacy—from their loose interplay and improvisation to the eerie realism of the recording—is palpable and feels more like an invitation to their inner circle than a commercial release.

Grammy-winner Michael Graves’ sensitive remastering brings Memphis Slim, U.S.A. to life, letting listeners in as the piano legend and his buddies offer a musical history of the blues from its Southern juke-joint roots up to its Chicago-style move toward R&B.

Memphis Slim, U.S.A. is an essential document that Candid is proud to bring back to the blues canon.

She’s out of this world…

Maltese musician & producer Joon’s galactic debut arrives on our shores fully formed a decade after she first set sail. 12 cuts of uniquely addictive Synthesized Pop twist & turn on the rocky waters of life.

Her story begins after a life-changing car crash on the streets of Malta many moons ago. She was lucky to walk away in one piece. “That car crash was a wake-up call,” she says. “It made me realize how precious life is & I started living the life I felt was worth living.” Inspired to finally pursue her love of music full time, she began collecting instruments. Starting with a Stylophone& a vintage rhythm box, she started documenting ideas. Returning home to Malta after a few years in London, she only met one other woman making electronic music on the island. Driven by the desire to make music possible & accessible for the next generation, Joon co-founded the Malta Sound Women’s Network.

Ten years later, she sends us messages in a bottle from across the Mediterranean Sea. Armed with a Moog & her ethereal voice, she transmits hope & joy from a bedroom somewhere between Sicily & North Africa. Her music is right at home alongside outsider pioneers like Fever Ray, Grimes, Laurie Anderson & Molly Nilsson. Dream Again glides across heavy rhythms & eclectic electro. Telling stories of alienation with a throbbing heartbeat & space-age melodies, she lets us into her ultra-vivid world where anything is possible. Produced by Johnny Jewel, the album shines bright like comet orbiting the label’s dark sky, a much-needed vision of light on the horizon.

“Even if I’m sad or heartbroken, I remain optimistic. I want to grow old with no regrets.”

It’s time to Dream Again…

Green vinyl repress, standard single sleeve printed inner. 'The Time Has Come' is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.' Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music." Anne Briggs // Offering some of her first original compositions, 'The Time Has Come' was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. 'The Time Has Come' is a mix of Anne's own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne's playing, with sounds ranging from the breezy 'Clea Caught A Rabbit' to the terrible beauty of 'Wishing Well' - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.

First LP in the ‘Signature Series’, a small new series in the Metaphon catalog, documenting previously unreleased archive works of less known composers. Metaphon presents their ‘signature’ in the most personal and elementary way.

Raoul De Smet (1936), mainly known for his numerous instrumental and chamber music works, started composing in the early 1960’s. Between 1974 and 1989 he also recorded several electro-acoustic compositions at the IPEM in Ghent, one of the more approachable crossroads for experimental music creation at the time. His work carries different moods and contrasts, a sort of expressive eclecticism where straight forward evolution often prevails over far-fetched intemperance. However, his work is far from obvious. The four distinctive tracks on this album portray a fresh and unpretentious enthusiasm of a composer discovering new electronic tools.

(Limited edition to 500 copies, remastered audio, pressed and printed in Indonesia) The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre.



Dangdut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid 20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is until today the undisputable king of dangdut and his role as pioneer of the music is already in the history book. In fact, there's one book documenting the outsized role of Rhoma in establishing dangdut as the father of this music. The book is aptly titled Dangdut Story, written by Pittsburgh University music professor Andrew N. Weintraub.



Among Indonesian fans of dangdut, there’s this one misconceptions that dangdut music is that it is an indigenous art form from Indonesia and that it constitutes an amalgamation of local, traditional music of this Southeast Asian nation, with Malay music being the most prominent feature in the mix.



Dangdut pioneer Rhoma Irama is among the first to reject this assertion. “Dangdut music may have originated in Deli (in North Sumatra) but then got the influences from the West and India”, he said.



Indeed, most of Rhoma’s well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West.



Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka and Tom Jones. In 1972, Rhoma won best singer title in a Southeast Asia singing competition in Singapore playing Tom Jones “I Who Have Nothing.”



Yet, nothing changed Rhoma’s fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group.



His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as “theatre”, through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show.



And this is actually the contradiction of Rhoma’s brand of Malay music. “One might legitimately ask how imaginative, not to say bizarre, costuming and dancing with abandon could be related to some of the objectives of Rhoma has set for himself and soneta group”, Frederick wrote on his seminal work on the singer, Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture, published in 1982.



From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia’s music industry.



Detractors like to point out how much he was indebted to Deep Purple, but a closer inspection reveals how he in fact had mined his influences even deeper.



Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song “Santai” (Relax), this album’s closer or “Credit Title (Instrumentalia)” which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone’s or Isaac Hayes’ tunes from that era. Other highlights of the song is the funky guitar licks and the droning Hammond a la George Clinton that stabs deep in the record groove. In the guitar solo, you can also hear the bark of George Harrison’s licks from “Taxman”.



The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre. Only 500 copies were pressed for this compilation.

Second installment of this wonderful compilation of gems from the 60s and 70s Singapore music scene, focused on the amazing ladies that helped make it so vibrant. 14 gems of female fronted Pop Yeh Yeh, another eye-opening collection of amazing Singapore treasures. A new collection of female fronted Singapore recordings from the 60s and 70s, documenting one of the most vibrant music scenes during those incredible years. Be it as solo singers, backed by other bands or as band leaders, women had a huge presence on the Singapore music scene, and here's another 14 tracks to celebrate their legacy. All under the idiosyncratic Pop Yeh Yeh umbrella and each with her strong personality and musical tendencies, the music contained in this beautiful record is an absolute trip for anyone interested in 60s and early 70s music.

2026 Repress

MOLA's music is the unadorned antithesis to a rosy world. She celebrates herself to death, pulls you into her inner chaos and does without the usual romanticising transfiguration of the merciless disorientation that catches up with you on the way home after the last cigarette.

MOLA knows better than anyone that she is a border commuter - and she has never made a secret of it. Perhaps it was fate that the course of events abandoned her shortly after her birth in Erba, Italy, in Germany's most austere metropolis. In Munich, where flying free and falling free are a little more complicated than in the cesspit of Berlin, where one would naturally place Isabella Streifeneder and her music if one didn't know better.

Temporarily reduced to intimacy, then escalating into iconic 80s "Purpel Rain" pathos, MOLA illustrates the emotional chaos that the inner dialogue of left and right brain triggers in her. Unconventional pop music that bundles the nonchalance of great soul anthems, the grace of the Italo-disco of the eighties and the ingenuousness of lascivious hip-hop bangers instead of trying to sound modern by force.

MOLA celebrates defeat, exposes life lies, criticises adulthood, documents radical mood swings. She balances along the abyss in her ball gown, jokes about things you don't joke about, praises and curses intoxication and love - "Vino Bianco no longer tastes like dolce vita, it only tastes like losing".

You can now see MOLA supporting Fatoni, Roy Bianco & the Abbrunzati Boys, Mayberg and Kaffkiez in a flurry of strobe lights after sold-out "nothing breaks me" shows in Munich, Cologne, Berlin & Hamburg. In addition to a festival season that couldn't have been more beautiful, they finally have a big tour of their own coming up for their next album, which will see the light of day in September.

After more than 40 festivals "Snow in Summer" on well-known stages like Lollapalooza Berlin, Rocken am Brocken, Puls Open Air, but also as support for Udo Lindenberg at the Hermann-Hesse-Festival, "Life is Beautiful", the darned second record, sounds almost cynical, ironic or simply naive? In the end, it doesn't matter, because when you are overcome by this spontaneous feeling that is far removed from any rationality, you don't ask any questions. It tastes like the melancholy of a summer in its last breaths, like the last drink of an uncompromisingly insane night.

There is sweating, pogoing and feeling together. Even where it hurts.
You are not just an onlooker or a silent spectator, but part of this empowering feeling of "we".

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”

Standard weight white vinyl remastered from the original tapes, restoring the original album on vinyl for the first time since 1995, including its original artwork. Includes download code.

In 1991, four kids from the suburbs of Chicago, IL formed Cap’n Jazz, arguably one of the most influential rock bands of the last 30 years. Those kids, brothers Tim & Mike Kinsella, Victor Villarreal, and Sam Zurick, were joined by Davey von Bohlen in 1994 and recorded their only full-length album before calling it quits - Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped on, and Egg Shells We’ve Tippy Toed Over - often referred to as Shmap’n Shmazz. Originally released on the Man With Gun label, the album quickly fell out of print after the band’s breakup, with the songs eventually making their way to the Analphabetapolothology compilation, released in 1998 via Jade Tree Records.

As a testament to this legendary debut, Polyvinyl is thrilled to announce the vinyl reissue of Shmap’n Shmazz, which has been remastered from the original tapes - restoring the original album on vinyl for the first time since 1995, including its original artwork. With the unmatched intensity heard in the opening track, “Little League,” coupled with eccentrically poetic lyrics, this iconic album has influenced countless artists since its release and unintentionally sparked a new genre. Pitchfork calls the album “a touchstone of Midwestern emo,” while Vulture placed “Little League” at #3 on their 100 Greatest Emo Songs of All Time list. Musician Devendra Banhart has also expressed his love for the band in a 2017 Joan of Arc documentary, describing Tim’s powerfully striking vocals like "going to the zoo on quaaludes, but all the other animals are on speed."

In addition to the band’s influential legacy, Cap’n Jazz was the catalyst to the formation of other notable bands featuring the original members, including American Football, Joan of Arc, The Promise Ring, Owls, Owen, Make Believe, Ghosts and Vodka and many more.

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

Originally released and sold on their fall 2009 US tour, Flower-Corsano Duo’s “The Chocolate Cities” stands as one of the group's most spirited releases. Recorded live in Cambridge, England and Geneva, Switzerland these recordings capture the power and energy being harnessed by the duo at a time of frequent touring, just after the release of their monumental double-LP “The Four Aims.” Michael Flower is perhaps best known for his work in Vibracathedral Orchestra, along with a slew of other bands, collaborations, and solo work. Meanwhile, Chris Corsano is well known as one of the premier drummers of modern times, and a frequent collaborator of Joe McPhee, Bill Orcutt, Bill Nace, Paul Flaherty, and many more. As a duo Flower and Corsano present an endlessly shifting and transforming sound, meshing elements of free jazz, drone, and ecstatic psychedelia into something all its own. While Corsano guides with his nimble and dynamic drumming, Flower plays amplified Japan Banjo (also known as a Shahi Baaja) providing melody, lead, and drone, often simultaneously. Gripping even in its quietest passages, thoughtful even in its most unrestrained crescendos, “The Chocolate Cities” documents a duo at the height of their collective prowess. Saved from the obscurity of its original CDr format and presented for the first time on vinyl with stunning new artwork by Chris Corsano, “The Chocolate Cities” stands as testament to the power of two magnificent players even 15 years on.

Colin McCann, Brian Gossman, and Eric Fiscus periodically return to the grid from the remote mountains of Northern California to document their evo/involution as Vulture Feather. Touring the states throughout much of 2024, they brought the sharpened machine back to Tim Green's Louder Studios to capture their second album, It Will Be Like Now. In literary terms, the record is a work of man versus nature, except man and nature are both secret identities of a third, unnamed thing. Tears and the ocean and death are the main characters, and the initiated may get the sense that these too, belong to the absolute. It all ultimately resolves as a terrifying and beautiful love story. Sonically speaking, It Will Be Like Now reports from a place where PiL and Jah Wobble never parted ways, where Johnny Marr righted the ship, where songs only need one part: the good part. The heads will know McCann and Gossman from their time in the prehistoric Don Martin Three (recently re-issued catalog by Numero Group) and later, Wilderness (Jagjaguwar). While prior efforts are beside the point, this is undeniably the sound of people who have been making music together for 25+ years. Glistening as much as howling, the guitar and vocals function as duet, delivering The Only Story Ever Told over a concise and thunderous rhythm section. It's the sound emulating from everywhere, all the time, through thick carpets of clouds, reverberating off canyon walls, through troubled waters, and finally to your devices, your ears, your heart, if you choose to hear it.

Miki Yui is a musician, artist, and composer, originally from Tokyo, who has been based in Düsseldorf since 1994. Her whose work has long explored multiple forms of media, while documenting liminal zones of perception. On her latest album, As If, Yui creates a subtly connected suite of electronic music, drawn from improvisations and randomised processes that she has engaged with modular synthesis. Deeply poetic in its expression, even at its most minimal, the six pieces on As If have a curious tenor – they are, each of them, intensely sensuous, almost haptic listening experiences, as though the laser focus that Yui displays towards her compositions allows her to engage them as almost physical presences in the world.

One of the keys that unlocks the intimate complexity-in-simplicity of As If was Yui’s encounters with the Amazonian rainforest in Manaus, Brazil in 2018. Finding that the sounds in the rainforest both shadowed and echoed the music she had been making for two decades, she embraced the possibilities of modular synthesis, the sounds of which she discovered “have astonishing similarities to the sounds I experienced in the rainforest.” There is, indeed, something natural about the way these sounds bloom in real time; in their dedicated focus to the subtle development and mutation of several discrete parameters of sound, they grow slowly, gradually, their rhizomic structures suggesting that we are always situated within the middle of sound.

Sometimes, the material here has a kind of febrile energy, as on the ticking, clacking electronics of “Generativ”, a track that seems to rotate in the air in front of the listener, the light reflecting off its multiple surfaces as we catch the intricacies of its micro-patterns. Elsewhere, we slide into a cooled but welcoming environment, like the late-night fire-fly horizon of “Song 4”; there’s also the humid, dripping tropical sunset that’s documented on “Summernight”. It’s a music that’s hard to locate external coordinates for, though there are, perhaps, some parallels with the work of Laurie Spiegel, Eliane Radigue’s Vice Versa, and Pauline Oliveros’s “Roots of the Moment”. But As If is an extraordinary collection of naturally developing, rich studies for slowly mutating, enveloping, elemental electronics.

"Double Vinyl edition of their 2016 live album • 15 tracks – including two performances not on CD (one featuring Robert Buck) Their greatest hits and more – performed live!

For over 40 years, 10,000 Maniacs have been doing what they do best – Playing Favorites!

Originally released on CD and Digital in 2016, Playing Favorites documented their dynamic live shows. Recorded before an adoring crowd in Jamestown, NY, Playing Favorites included hits and fan favorites from the group’s storied and influential career. The 6 piece band (Jerome Augustyniak, Dennis Drew, Jeff Erickson, Steven Gustafson, John Lombardo, and Mary Ramsey) was augmented by strings, horns, and backing vocalists, making their lush sound even fuller and more engaging.

For Record Store Day, Playing Favorites returns on an Opaque Red double LP. 15 tracks, including two previously unissued performances not on the CD/Digital release: “Candadee-i-o” from the Playing Favorites era and “Angels Of Stone,” a recording from 2012, recorded at Lake Forest College, Illinois, featuring original guitarist and founding member Robert Buck. (Buck sadly passed away in 2000 He was also named one of the 100 Greatest Guitarists of All Time by Guitar Player.)

As the Maniacs continue to perform, devotees in cities across the country are able to experience the band in concert. For those who can’t be there, they don’t have to miss the show. Every 10,000 Maniacs fan can be Playing Favorites—in the venue, at home, or both!"

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

With lyrics that "give a voice to the feelings of people who often get left out of
popular discourse and pop culture" (NPR), Oliver Anthony became the first artist
in history to debut at No. One on the Billboard charts without previously having a
song on the charts with his hit song "Rich Men North of Richmond." The song has
been streamed more than 153 million times on YouTube and has tallied more
than 433 million across all streaming platforms. He is the first living male
songwriter to chart 13 songs simultaneously in Billboard's Top 50 Digital Song
Sales. Five of his other songs have made iTunes' Top 10, including "Ain't Got a
Dollar," which also claimed the No.One spot on Spotify's Viral 50 list.
In April, he released his first studio album, Hymnal Of A Troubled Man's Mind; the
dynamic 11-song collection "hits on an emotional, nostalgic musing of childhood
joy compared to adulthood strife. These ideas expound on facets of human
existence untouched by the political realm, no matter which camp you find
yourself on" (American Songwriter). Produced by Grammy winner Dave Cobb, the
album was praised by fans and critics for its "homespun sound" that shines light
on "his grainy, soulful vocal with acoustic guitars, bass and fiddle" (Billboard).
"Helmed by Nashville super- producer Dave Cobb, the 18- track collection is rife
with stories of addiction, depression, faith, and fury as Anthony documents the
decade leading up to his unexpected rise to stardom (it also features eight Bible
verses as interludes). A stark departure from "Richmond" in some ways and
others not, the album is proof that his viral moment wasn't a fluke." -
"This album represents the most pure and transparent view inside my heart and
soul that I could offer. While Richmond was the song that got my name out in the
public, these songs represent the true foundation of the music that got me
through life up until now" - Oliver Anthony Music