quête:drunk

Alternative pop duo, YOVA release their brand new album ‘Dreamcatchers’ on 1st March 2024. Featuring nine tracks the album was written over a nine year period stretching from the duo’s inception in 2014 through to 2022. The album was recorded and mixed 2021-23 between home studios in Dorset and London. Discussing the themes behind the record YOVA explain: “The lyrics of the songs delve deeply into our lost and unrealised dreams and ideals, whether from a personal perspective or within a more global context. The tracks relate to how our dreams are caught then nurtured, realised, abandoned or destroyed. This can apply to our personal lives, but it equally informs our helplessness and on-going quest for self-identity at a time of deep geopolitical and ecological uncertainty.” Produced by YOVA in collaboration with Rob Ellis, Alex Thomas and Martin McDougall, the record features the duo’s earlier singles “Dreamcatchers”, “Hurt Like No Hurt” and “Feel Your Fear” alongside six brand-new tracks. YOVA assembled a collective of like-minded musicians to create the sonic tapestry of Dreamcatchers including Terry Edwards (NIck Cave, Gallon Drunk, The Jesus & Mary Chain), James Sedwards (The Thurston Moore Group/ And This Is Not This Heat), Rob Ellis ( PJ Harvey, Marianne Faithfull), Daniel O’Sullivan ( Grumbling Fur, Tim Burgess), and Alex Thomas (John Cale, Anna Calvi). YOVA are Jova Radevska and Mark Vernon. With Vernon a seasoned veteran of the alternative music scene who has managed and recorded with John Cale and co-produced tracks on PJ Harvey’s debut album ‘Dry’, a chance encounter with Macedonian vocalist and songwriter Jova paved the way for their bewitching collaborative project. Their debut album ‘Nine Lives’ was released in late 2021 to praise from the likes of Louder Than War, Electronic Sound and MOJO, with the latter hailing the album as “a beguiling debut from a duo of sonic adventurers” in their four star review

Osteoleuco is the unit of KEISUKE SAITO (MC/Producer) and Shimon Hoshino, whose sound mixes lo-fi hip hop with indie soul and dream pop.This 2nd album features popular Japanese artists RYO-Z (rapper, RIP SLYME) & Emi Okamoto (singer) and more.

Grilchy Party presents another epic from Da Buze Bruvaz own Clever 1 and mysterious production wizard Lord Beatjitzu. This new adventure follows where the last one, Perverted and Drunken, left off. They have cooked up another album following the footsteps of their classic Perverted and Drunken LP. This new adventure follows where the last one left off. Introducing Master Sip, Legendary Teacher Of Bruce Lo Da First Drunken. It is illuminating one of the many chambers of their Drunken Fly Chi style, the martial arts mind states of Clever 1 and Lord Beatjitzu combining as the "Fly Chi School Of Da Drunken Artz". The duo pops the listener in the face With vicious, bloody Nunchuck Lyrics over high-velocity, swift kick-in-the-chest production. With these seasoned masters of their perspective arts, they form a powerful, unstoppable combo and truly take no prisoners in this Action-Packed sophomore foray. It's a pure Saturday morning Kung Fu sound theater where Wing Chun enters the world of Drunken Fist on Wax. Beware as you enter the Dojo and watch your step!

Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.

Here we go again with the flow again. Drunkenstein is back on his stone cold 7inch saga. This time it goes deeper with these two slow burners. The A side rocks the instrumental track as usual and Fatlip got remixed on the B. This is a must for every jukebox owner and beyond!

Boys Like Girls have enjoyed a meteoric rise after forming as teenagers in 2004. The b& was forged from the very beginning in the damp basements, garages, & VFW halls of the Massachusetts coastline over tattered lyric books, guitars, drums, & a collective dream. A half-billion Spotify streams later it‘s clear this was a fairy tale in its first act. Their self-titled debut album 2006 is nearing Multi-Platinum RIAA certification, while its chart-topping successor Love Drunk 2009 bowed at #1 on the Top Rock Albums Chart & Top 10 on the Billboard 200. A slew of successful singles abounded, including Platinum-certified hits “The Great Escape” & “Love Drunk,” as well as Gold-certified hits “Hero/Heroine” & “Thunder.” There was the Platinum-certified, BMI award-winning Hot 100 duet with Taylor Swift: “Two Is Better Than One.""""
By 2012 lead singer & songwriter Martin Johnson was beginning to feel the universe pulling him into a new arena, where he crafted hits for Swift, Ariana Grande, Pentatonix, & more. That led to a years-long hiatus for Boys Like Girls. But in 2016, the b& would return to the road for the 10th Anniversary tour of their debut record. While fans across America were ecstatic for the reunion they’d been waiting for, internally it felt more like a farewell. But it wasn't. In 2019, Boys Like Girls plotted another return to the road Down Under. Those plans were delayed due to the global events of 2020. After making good on their promise to return in 2022 & punctuating the tour by playing both weekends at the lauded Las Vegas When We Were Young Festival, Boys Like Girls meant more than ever not only to the band’s members, but to the fans as well.
Rock Sound Cover band / confirmed for Slam Dunk UK Festival 2024 / support from Kerrang! and NME "

Boys Like Girls have enjoyed a meteoric rise after forming as teenagers in 2004. The b& was forged from the very beginning in the damp basements, garages, & VFW halls of the Massachusetts coastline over tattered lyric books, guitars, drums, & a collective dream. A half-billion Spotify streams later it‘s clear this was a fairy tale in its first act. Their self-titled debut album 2006 is nearing Multi-Platinum RIAA certification, while its chart-topping successor Love Drunk 2009 bowed at #1 on the Top Rock Albums Chart & Top 10 on the Billboard 200. A slew of successful singles abounded, including Platinum-certified hits “The Great Escape” & “Love Drunk,” as well as Gold-certified hits “Hero/Heroine” & “Thunder.” There was the Platinum-certified, BMI award-winning Hot 100 duet with Taylor Swift: “Two Is Better Than One.""""
By 2012 lead singer & songwriter Martin Johnson was beginning to feel the universe pulling him into a new arena, where he crafted hits for Swift, Ariana Grande, Pentatonix, & more. That led to a years-long hiatus for Boys Like Girls. But in 2016, the b& would return to the road for the 10th Anniversary tour of their debut record. While fans across America were ecstatic for the reunion they’d been waiting for, internally it felt more like a farewell. But it wasn't. In 2019, Boys Like Girls plotted another return to the road Down Under. Those plans were delayed due to the global events of 2020. After making good on their promise to return in 2022 & punctuating the tour by playing both weekends at the lauded Las Vegas When We Were Young Festival, Boys Like Girls meant more than ever not only to the band’s members, but to the fans as well.
Rock Sound Cover band / confirmed for Slam Dunk UK Festival 2024 / support from Kerrang! and NME "

“I’ve been wanting to make a record like this for a long time. The band, Franny and I produced it ourselves in my living room with no adults present. It’s all acoustic, not an electric lick on the album…banjos and mandos and string basses and stripped-down drums. I put a ton of work into the tunes and I’m pretty proud of this batch. Had a little help from my old co-writing pal Jaida Dreyer on a couple, also wrote a good one with my screenwriter buddy, Brian Koppelman. Lots of gambling songs and lots of minor keys. And my band guys absolutely killed it too, they’re all badasses. I’m dedicating the record to my old compadre, Ian Tyson, who passed away a few months back. I’ve named the album for him as well. ‘El Viejo’, or ‘the old one’ is what our mutual friend Tom Russell took to calling him in later years. The title track is a pretty special one for us. We had a blast making this thing, and we hope you enjoy it too.” - Corb Lund

The second album by F.K. Raeithel, just after the operetta DIE WURLITZERORGEL DES GEISTES, explores the realms of interlocked rhythm sample and hold music. On 16 tracks different setups of self generating modular synthesizer patches are gathered on this release.

The concept of Dance With Uncertainty is deeply rooted in philosophical, artistic, and cultural traditions. The notion of embracing uncertainty and change has been explored in various forms throughout history, often symbolizing the human experience and the impermanence of life. In the context of music and sound, Dance With Uncertainty could be seen as a reflection of the constant ebb and flow of life‘s uncertainties, captured and conveyed through sonic textures and evolving compositions.

Interlocked Rhythm Sample & Hold Music, this approach to sound creation weaves a mesmerizing tapestry of rhythm, texture, and sonic exploration, captivating listeners and defying traditional musical boundaries. At its core, Interlocked Rhythm Sample & Hold Music is a synthesis of technology, creativity, and a deep understanding of rhythmic intricacies. The foundation lies in the Sample & Hold circuit, a device that captures and freezes incoming voltages, creating distinct musical snapshots that evolve over time or an Linear Feedback Shift Register (eg. Rungler), a circuit used in electronic music synthesis and sound manipulation to create unique and evolving musical textures. The Rungler was created by Rob Hordijk. A more sophisticated use of a 8 bit shift register and by combining this with a typical sequencer design is the Klee Sequencer developed by Scott Stites. A cheap version of this design is the Turing Machine. Another tool is the Analog Shift Register. In the context of creating arabesque melodies, an analog shift register (invented by Fukushi Kawakami and later adapted by Serge Tcherepnin) can be a fascinating tool to generate intricate and ornamented musical patterns. Yet, it‘s the interlocking of these snapshots that sets this genre apart, infusing the compositions with an intricate dance of patterns and pulses. A fourth device is a pendulum or random addressed sequencer, that in the first case moves in a drunken unpredictable manner. Each of these devices for uncertainty becomes a rhythmic sculptor, freezing the dynamic interplay of melodies, beats, and textures. These frozen moments are then interwoven, each snapshot forming a unique thread in a sound tableau that stretches and contracts, pulses and breathes. The result is an auditory experience that challenges preconceptions of rhythm and structure. The interlocked rhythms give rise to complex grooves that ebb and flow in unpredictable ways, evoking a sense of perpetual motion and transformation. The music becomes a living organism, its heartbeats synchronized yet untamed, its evolution both deliberate and free-spirited. The juxtaposition of staccato bursts and fluid flows, of machine-like precision and organic unpredictability. As listeners delve into the world of Interlocked Rhythmic Sample & Hold Music, they embark on a sonic odyssey. The music becomes a companion, guiding them through a labyrinth of rhythmic landscapes that simultaneously challenge and invite them to the dance with uncertainty.

Der in den USA aufgewachsene Christian Kjellvander (sprich: "Schjellwander") kam schon als Jugendlicher mit der texanischen Alt-Country-Szene in Berührung, die ihn nachhaltig beeinflusste. Als einer der bekanntesten Singer/Songwriter Schwedens veröffentlichte Kjellvander neben mehreren CDs mit seinen Bands Loosegoats und Songs of Soil auch zahlreiche Soloalben.

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

It was winter. Six Parts Seven had returned to Ohio after touring out to Washington State, to record Casually Smashed to Pieces. There was down time between the recording and the actual release of that album in January 2007, and we were rehearsing, playing local shows, and collaborating, with most of us involved in other projects to keep the momentum going (Mike w/ Talons, Al w/ Beaten Awake), but the one we all came together over was recording an album with Joey Beltram, the songwriter behind Goodmorning Valentine, a local band we shared players with, a band we deeply admired. The music on Kissing Distance came together over two weekend days. There were a lot of people around; 6P7 and GMV players coming and going from the Saint Ledger House. There were handles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. We all went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productive the following day. Chalk that one up to relative youth. Over those two days, songs were cut without any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seems inevitable. The first song on the album, "Mediation in D," had been written a couple of years before, and was the decided spark that set the fire blazing: for both bands, this song was the starting point, an invitation to take things further, to expand, combining players from both bands, our 'toolbox' had increased in size from a single hammer to a toolbox. Everything came easily at this point. "Drunk from the Bottle," is the first of the one-take/one mic songs: an SM58 used for both vocal and guitar, making it impossible to over-think anything: You got the version, or you did not, that simple. "Instrumental #2," is the last full/core band recording by Six Parts Seven. The first piece in our catalog written/arranged by Tim Gerak. This song would have been developed on our follow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in this is real. It's there in the bass guitar, tuned high and open, played with a slide, and utilizing one of Jamie Stillman's pre- Earthquaker Devices fuzz pedals. "Lonely Daughter," is another one-take/one-mic song, notable for the lead-guitar, played by James Matthew Haas, who overdubbed his part, months later, standing alone on the deck at Joey's folks place, playing to the moonlight, making magic...

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.

On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.

As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."

Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.

Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.

Repress!

Given the vital importance of your contribuNon as a member of the music community in France, we would like to tell you about our new approach – which aims to miNgate the impact of the current lack of events and fesNviNes – and explain iniNaNves organized to provide the best possible response to both your needs and those of the clubbers you are helping during this extraordinary crisis. Pixadelic and E.enne de Crécy are working to make new tracks available and help to limit the gloom that has been furNvely emerging over this period with the producNon of a third release in the Commercial ep series.
Begun in 2006 and halted in 2007, the series achieved very promising results, encouraging fun on the dance floor all over the world. In view of recent events, we felt it was urgent to conNnue our efforts in that direcNon. The result is two tracks: JUNK and DRUNK, whose effects on the body sNmulate those rushes of communicaNve excitement that have become essenNal at this Nme. We will be supplying these resources to players in the sector in order to contribute to cultural and fesNve events in France and the other countries of the world.

The undisputed kings of grind, PIG DESTROYER return with their long awaited fourth proper full length ‘Book Burner’. ‘Book Burner’ is a resounding statement of championship, as every element of PIG DESTROYER towers above their closest peers—a 32 minute, 19 song knockout punch of cerebral viciousness. Scott Hull’s guitar heroics sound like a mutant double speed hybrid of Slayer and the Melvins jacked up on amphetamines, new skinsman Adam Jarvis is the pinnacle of inhuman drumming, Blake Harrison delivers layer upon layer of suffocating atmosphere and JR Hayes remains the poet laureate of extreme metal. ‘Book Burner’ is the finest work of extreme music’s best band. Limited edition deluxe CDs and LPs available with bonus ‘Blind, Deaf and Bleeding’ EP, expanded packaging and the much talked about short story penned by JR Hayes. RECOMMENDED IF YOU LIKE: Napalm Death, Converge, Melvins, Discordance Axis, Wormrot

Its heavy stuff, Blackened Melodic Noise Rock type stuff. It's got a kind of
maximised lofi- ness along the lines of Drunk In Hell. Maybe you will dig it. FFO
GNOD, This Heat, Unsane

The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !

"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.

1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.

We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!

At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.

A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."

In March of 2022, Car Seat Headrest brought their "explosive" (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2021 album "Making a Door Less Open." Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites "Beach Life-In-Death," "Crows", "Something Soon", and "Drunk Drivers / Killer Whales."

In March of 2022, Car Seat Headrest brought their “explosive” (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2020 LP ‘Making a Door Less Open.’ Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites “Beach Life-In-Death,” “Crows”, “Something Soon,” and “Drunk Drivers / Killer Whales.”

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

Limited edition 300 copies all pressed on mandarin orange coloured vinyl, and housed in a gloss finished full colour outer sleeve with insert, polylined inner bag and download code. Non-Returnable.

Recorded in Finland & the United Kingdom. Winter/Spring 2023

Finnish space travellers Nolla join forces with psychedelic guitar maestro Mike Vest (Bong, Blown Out, Modoki, Artifacts & Uranium, Drunk In Hell)

Inspired by classic space rock, driving hypnotic krautrock and bleak synth soundscapes, the Kaliyuga Express debut album is a story of ends and beginnings, light and darkness, dystopian worlds beyond and their warriors and masters.

Prepare to be blasted into endless black space!

‘Ultra Delays & Octave Hawkwind Guitar Compositions. At the Edge Of Time & The Universe.’

For fans of: Hawkwind, Can, Sun Dial, Bevis Frond, Space Rock, Kosmische Musik etc

- 20-track collection includes Charles Bradley & The Menahan Street Band covering Sixto Rodriguez, Iggy Pop & Zig Zags performing a Betty Davis classic, Ethan & Maya Hawke interpreting Willie Nelson, and Angel Olsen paying homage to Karen Dalton - Double LP pressed on special limited edition color wax - Featuring new cover art by renowned British artist Sophy Hollington - Booklet with track-by-track notes by Lydia Hyslop // For more than 20 years, acclaimed reissue label Light in the Attic Records has shined a spotlight on some of music's most unique - and often forgotten - voices. But reviving these long-out-of-print recordings is only half of the process. "We believe that an essential component of archival work, aside from simply honoring the music, is to seek ways in which to bring fresh perspectives, context, and reverence to the original artists and their work," says LITA founder, Matt Sullivan. Thus, LITA's acclaimed cover series was born, in which contemporary acts pay homage to their favorite LITA artists and songs. Spanning more than a decade, 20 of these inspired cover songs will be available together for the very first time on the 2xLP Light in the Attic & Friends. From Charles Bradley & The Menahan Street Band covering Detroit singer-songwriter Sixto Rodriguez and Mac DeMarco performing a song by Japanese icon Haruomi Hosono, to Iggy Pop & Zig Zags honoring funk queen Betty Davis, and Ethan & Maya Hawke covering country great Willie Nelson, these performances bridge the gap between generations, languages, and musical traditions.

Brontez Purnell has been making music since the ‘90s. The Southern-raised, Oakland-based American musician and writer has centered his queerness and Blackness in projects Gravy Train!!! and Younger Lovers as well as in his award-winning books ‘100 Boyfriends’ and ‘Since I Laid My Burden Down’. He is also a dancer, film maker and choreographer.
CRYSTAL CLEAR VINYL.
Hot on the heels of recent 7” singles for Sub Pop, PPM and his first solo electronic record ‘No Jack Swing’ (Dark Entries / Papi Juice), Brontez returns in DIY-punk band formation for a new album entitled ‘Confirmed Bachelor’, out Sept 15th on Upset The Rhythm. These twelve songs presented are of the no-time-wasted variety. Fuzzed-out pop songs, hotly delivered from the heart, often sassy, sometimes sappy, always snappy! Brontez’s band includes the multifaceted talents of Vice Cooler (who also produced and mixed the album), Sean Teves (of Younger Lovers) on drums, Kevin Preston (Prima Donna, Green Day) on guitar, Aaron Minton (Prima Donna) on piano and saxophone, and Laena Myers-Ionita on violin. The album was recorded in Los Angeles at The VCR earlier this year.
‘Bachelors Theme’ opens ‘Confirmed Bachelor’ and sets the scene perfectly with the heady, rush along swoon “That's when I heard the doctor singing to me, "Son; you got all those boys in love, I wish I knew what you were saying to them. Their storming castles are coming for you!” It’s a tour de force of bop and bravado. This is what the album does so well, it sweeps you off your feet first, making its lyrical disclosures all the more affecting.
‘Rude Life’ begins in lilting, measured contemplation. “You're the rudest boy I know, and I've a real rude life” confesses Brontez as the violin laces through his vocal. This is all shook up at the halfway mark though when the adrenaline kicks in and the drums pummel. ‘Sky Opens Up’ similarly dials up the tumbling, careening clamour and energy buzz. ‘Hellish Banger’ is more of slow dance meets grunge reverie. The album also boasts an amazing spiraling auto-tuned cover of The Amps ‘Bragging Party’. ‘No Cigarettes / Stay Monkey’ is pulse-grabbing rally of unadorned declarations split into two fleeting sketches.
‘Hey Boy’ and ‘Boy With Butterfly Wings’ are more reflective in intent, both yearning and unapologetically poetic. In fact the little details observed in the lyrics across the whole album are quietly elegiac; winter nights, electric bills, ticking clocks and many allusions to hauntings only lending pathos to the love-drunk / lovelorn axis of the record. ‘Confirmed Bachelor’ is a hot wonder, upbeat, witty and ever-lively only with a forlorn core, a resolute focus and defiant honesty. It’s a rare triumph, a record you can dance your Friday night away to, whilst the songs’ subtly work on your emotions from the inside out.
of it all. Jagged riffs, bubblegum bounce and Brontez’s vocal effortlessly racing to dizzying effect.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

Seit 18 Jahren führen sie Echtzeitgespräche, ohne sich dabei aufzuführen. 2-9 Berliner Ladies, die sich live durch Stile und Geschichten spielen und dabei schon an die 200 B a n d s f o r m i e r t e n . G e n r e : K o n z e p t - P e p . Jedes Konzert und damit jede Band sind textlich und namentlich unauflösbar mit allen Beteiligten, Spielort und Setup verknüpft, Wiederholungen waren nur in Ausnahmen erlaubt. Doch nun gibt es sie doch: Festplatte. Eine Compilation.

Auf Seite A sehnen sich Spassbremse mit Engelsstimme nach Freiheit, während die Abstände im dunkel treibenden Offbeat über den Kontrollstaat schmunzeln. Pimmelbett rappen und schwelgen episch in the „Infinite Nature of Dreams“. Und nachdem die supersymmetrischen Teilchen elegisch über Einsamkeit sinnieren, feiern Leh Kokott ihren Sommerhit 2015 „un Bouton“.

Four-to-the-floor sagen Fräuleinschein auf Seite B und denken dabei an „Kartoffelpüree“, worauf eine unbekannte Band in finnischer Tradition ihrer Stammkneipe hinterher weint. Die Kraft der Selbstbefriedigung wird im Blues zelebriert und balkanesk besingt Puncikák ein dringendes Bedürfnis in allen ihr zur Verfügung stehenden Registern. Die Flöhe und die Drunken Sinkers vollenden im Punk.

An den Vocals lernt man alle Musikerinnen kennen, begleitet von einer klassischen Bandbesetzung, eingestreuten Spielereien und diesem unwiderstehlichen Cello. Festplatte - ein Fest von Platte. Im Herzen der Punk, im Ohr ein Wurm.

Homemade, charming folk-rock with the lovely voice of MANDY MORTON, 12-string guitars, dulcimer, mandolin, fiddle… Fabulous covers of “Let No Man Steal Your Thyme”, “Matty Groves” and more!

Formed in the early 70s, Spriguns of Tolgus evolved from the folk duo of Mandy & Mike Morton and the scene centered around their Anchor Folk Club in Cambridge. In 1974, the band (Mike and Mandy plus Rick Thomas and Chris Russon) decided to produce a recording to raise funds for new equipment. Using a small tape recorder and mixing desk, “Rowdy Dowdy Day” was recorded live in the dining room at the band’s rented house. A small number of cassettes were produced and subsequently sold at the Anchor Folk Club.

With the original cassette impossible to find now, we’re glad to present a new vinyl edition.

“We grew up in the ’60s to the sound of The Beatles; we embraced flower power and all it brought with it; and we indulged ourselves in every type of music on offer. From America came The Byrds, Jefferson Airplane, Joni Mitchell and Bob Dylan, and here in the UK we celebrated our own heroes, Pentangle, Fairport Convention, The Incredible String Band and later Steeleye Span” – Mandy Morton

Fresh from starring as the town drunk, no typecasting here!, in Rio Bravo’ (the movie) Dean was at the height of his popularity when he entered the Capitol studios in the summer of 1959 to record his first
Christmas-themed songs accompanied by an orchestra arranged and conducted by Gus Levene. The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by
fine versions of “White Christmas”, “Let It Snow! Let it Snow! Let It Snow!”, “Winter Wonderland”, “Baby, It’s Cold Outside”, “The Christmas Blues”, “Rudolph, The Red- Nosed Reindeer” and bonus
broadcast recordings of “Silent Night”, “Silver Bells” and “It’s Beginning To Look Like Christmas.

Limited coloured Crystal Clear vinyl.

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Jules Wells is from Bordeaux, France. He started Djing in the late 90’s, and released his first productions in 2008 on Logos Recordings.

Strongly influenced by the Motor City, Jules already released material on several respected Detroit-based labels like KMS, Electrofunk, Submerge Recordings, Twilight 76 Rec, and RPD, but also on various labels such as Lo-deep (France), Purebox (Japan) and Logos (Macedonia). These EPs received massive support from many Djs, including Laurent Garnier, Underground Resistance, Carl Cox and Monika Kruse.

Now Jules Wells joined the briquerouge team for his first album ever

To be released on 2x12" LP limited bi-color vinyl edition in October 2023.


Support by Laurent Garner (play/radio show/new podcast DEEP Search planned feature on Soundcloud) /

Louis Cole ist ein Singer-Songwriter und unverschämt talentierter Multiinstrumentalist mit einem ausgeprägten DIY-Ethos aus Los Angeles, Kalifornien. Er ist auf der Mission, tiefe Gefühle durch Musik zu erzeugen und ist das Aushängeschild einer allgemein dem Jazz nahestehenden Szene in L.A., zu der Genevieve Artadi (mit der Cole 2009 die Alt-Pop/ Elektrofunk-Band KNOWER gründete), Sam Gendel, Sam Wilkes, Jacob Mann, Thundercat-Keyboarder Dennis Hamm, Pedro Martins und viele mehr gehören. Sein neues Album, „Quality Over Opinion“, erscheint Mitte Oktober 2022 auf Brainfeeder Records.
Die 20 Tracks des Albums wurden von ihm selbst in seinem bescheidenen Heimstudio geschrieben, eingespielt und produziert, aber Louis lud eine Handvoll enger Freund*innen ein, ihren Beitrag zu leisten, u.a. Genevieve Artadi, den Saxophonisten Sam Gendel, den Pianisten Chris Fishman, Nate Wood von der Band Kneebody, Marlon Mackey und den Gitarristen Kurt Rosenwinkel. Louis' Hauptinstrument ist das Schlagzeug, und er hat einen Hintergrund im Jazz, obwohl die Musik, die er schreibt, wenig Ähnlichkeit mit Jazz im reinen oder klassischen Sinne hat. Dementsprechend gehören zu Coles Maßstäben für „Quality Over Opinion“ neben Jazz-Ikonen wie Miles Davis, der schwedischen Experimental-Metal-Band mit einem ausgeprägten Hang zu Jazz, Meshuggah, Morten Lauridsen und Super Mario Kart auch grenzüberschreitende Komponisten wie Gustav Mahler und György Ligeti. Coles verrückte Musikalität ist kein Geheimnis - seit einem Jahrzehnt lädt er Performance-Videos auf Youtube hoch und hat sich so eine treue Fangemeinde aufgebaut, die sowohl sein Handwerk als auch seinen ausgefallenen Stil zu schätzen weiß. Schlagzeug, Bass, Tasten... er hat eine sehr strenge Einstellung zum Üben und zur Perfektionierung seiner Kunst. Thundercat beschreibt ihn als „einen der größten Musiker von Los Angeles“ und lud ihn Anfang des Jahres ein, auf seiner jüngsten Japan-Tour Schlagzeug zu spielen. Die beiden haben häufig zusammen geschrieben, unter anderem auf Thundercats Liebeserklärung an Cole, „I Love Louis Cole“, aus seinem Grammy-gekröntem Album, „It Is What It Is“, auf „Bus In The Streets“ und „Jameel's Space Ride“ (aus Thundercats 2017er Werk, „Drunk“) und „Tunnels In The Air“ für Louis' 2018er Album, „Time“. Auch Flying Lotus hat seine Bewunderung für Louis zum Ausdruck gebracht und ihn während der Arbeit an seinem 2019er Album, „Flamagra“ als „super inspirierend“ bezeichnet. Im vergangenen Jahr begann Louis seine bisher größte Zusammenarbeit mit dem Grammy-prämierten Metropole Orkest, unter der Leitung von Jules Buckley, für eine Reihe einzigartiger Konzerte in den Niederlanden, die 2023 fortgesetzt werden, bevor er im Oktober dieses Jahres mit seiner Big Band durch die USA touren wird.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

Since forming in early 2021, The Prize have established themselves as one of Melbourne's premier rock and roll outfits, funnelling vocal soaked hooks and harmonies through a three guitar onslaught and a pulsating rhythm section. Their unique blend of power pop and rock and roll has earned new fans and followers from all sides of the globe. The Prize’s debut EP "Wrong Side of Town' sold out on the first day of its release and received high praise from the likes of punk legend, Henry Rollins. The band quickly found itself securing plum support slots for bands like the Sunnyboys, Pavement and King Gizzard and the Lizard Wizard. This culminated in a national tour supporting The Chats in late 2022 that has helped to establish them as a premium live act with the tunes to back it up. To top it all off, The Prize are set to embark on their first international outing in August/September 2023 supporting KGLW and the Murlocs on their European tours with a number of headline dates across Europe and UK. “First Sight”, the much anticipated second release from The Prize will be out just in time for the EU/UK tour via Anti Fade Records and Drunken Sailor from August 18th