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BLUTHARDINO, Komponist, Arrangeur und Multiinstrumentalist von MONDO SANGUE, erhebt mit DISCO VOLANTE 80 seinen Retro-Sound in völlig neue Sphären und erweitert die filmische Epik seiner Band mit Einflüssen von Soul, Funk und spacigem 80er-Jahre House. Herausgekommen ist ein vorwiegend instrumentales Producer-Debutalbum. Der groovende Retro-Cocktail eines Sound-Wizards, der hier einmal mehr ein enormes Gespür für den Sound der 70er und 80er Jahre beweist. Gesangliche Unterstützung gibt"s von Indie-Ikone FUTURE FRANZ und - erstmals auf französisch - von Bandkollegin YVY POP.

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release. After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time. That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi-instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

A rich musical journey comprising eleven songs, Madrid channels the chaotic charms of the Spanish capital where Nev has recently relocated.

"I love the way life works here. It's organised chaos. Walking
the neighbourhoods of Lavapiez and La Latina you begin to see how everything is perfectly balanced...how to eat, how to party and then how to relax! It's perfection. When it all gets too much I run away to
the English countryside"

Side A cut 'The Ring' calls to mind Cowboy In Sweden era Hazlewood while that Mustang bass, scratchy guitars and cool 60's drum fills invoke Serge and Vannier for ' Silver Screen' and title track 'Madrid'. Scott 4 is obviously a touchstone and Nev has never been one to hide his reverence for one of the greatest albums of all time. Seven minute wonder 'Under The Skin' channels Walker's

6 face-melting gurners for the 21st Century’s, wilted and jilted generation.

Glasgow’s Lady Neptune follows her New Gorbals Gabber cassette E.P. with her debut vinyl release NOZ. Over the course of 23 bloody fisted minutes, Lady Neptune’s – aka Moema Meade - hyper destructed take on Gabber and Happy Hardcore breaks down the genre tropes before rebuilding them as a new pop music. If 2020’s New Gorbals Gabber showed an artist building their own language from fragments of different genres, 2022’s NOZ goes harder into the cyberpunk-ass future and takes no prisoners. Recorded and mixed at Glasgow’s legendary Green Door Studios and mastered by Rashad Becker, here Lady Neptune evolves into a monster.

With the classic weapons of Dutch Gabber – distorted 909 kick drums, bursts of noise and world-eating Rave-O- Matic hoovering synth riffs, Lady Neptune’s 6 tracks constantly threaten to careen off the speaker into the sweatiest, most gibbering, messy corners of the club. The two years since her debut has seen Meade destroying festival dancefloors, training for the full assault that is NOZ. Live performances have seen foam guns, tequila-pistols, neon stage dancers and a full, maxed-out orgy of fast-as-hell BPM, rave music burning up the cones. The experience reaps rewards from the outset on recorded form here. APOCOLYPS begins with monstrous vocals and the all-consuming kick, pulled back and taut for launch. The arsenal builds; warbling synths and high-pitched synth-strings before dropping into Bald Terror-sized hoovers and stuttering 4/4s. It quickly bleeds into MASTERER, with a looped, pitched up vocal intersecting with the synth riff. The aesthetics might be Happy Hardcore but the dynamic feels like a synthetic, evil Nu Metal-influenced Industrial music. Constantly evolving and twisting with its own natural drama, the drop at 2:15 is pure ecstatic release. fusing Meade’s inclination for pop hooks with the first out-and-out 180BPM (ish, who’s counting?) anthemic melter of the E.P., TELL ME has THE big catchy chorus, used sparingly and sung by Meade with angelic devilishness, coming at you in waves of XTC. It’s a repeater.

It’s then massive fists in the air for the ruthless Side B opener WIT. In the Welsh-Brazilian artist’s adopted home of Glasgow it translates directly as WHAT!? Itt makes sense. g. Sharp, weaponised, rhythmic punishment abounds before OH responds. Pitched up vocals and another mid-frequency synth hook wipes the slate clean. Like the best Gabber, the tension and release dynamic is used to full effect by Meade, with the thunderous low end kick -expertly tweaked in the mastering by Rashad Becker – slipping into the ghostly cavern. Industrialized 4/4 and noise-snares propel onwards to be utterly squashed by that bloody synth, stinging and horribly brilliant. Proving her genius for a ridiculous A-N-T-H-E-M, TIME 2 MAKE U FEEL GOOD closes the 23 minutes of ragged, drugged glory with a festival-slamming chorus built from the wreckage. It’s a song that does that thing we all know and love but can’t put our finger on. Sad, happy, tragedy, ecstasy, joy, horror...There’s big, minor chord changes (yes there’s some CHORDS on this slammer), the kick is submerged in layers of pads and Meade’s actual secret weapon: her vocal and knack for writing a chorus line. In the listener’s mind it’s over before it’s begun, a track destined for the big rewind.

NOZ is a breathless, E-number riddled eternal ecstasy.

Massachusetts's finest indie punk outfit, Born Without Bones, have returned to announce their upcoming new album, Dancer, due out November 4th from Pure Noise Records. Since their formation, Born Without Bones have put together an impressive catalog that ranges from heart-on-sleeve punk, to biting alternative rock, to sweeping indie, and more. Now on Dancer the band sound undeniably like themselves, bridging all of their different influences into their own distinctly hook sound. Produced by Mike Sapone (Oso Oso, Taking Back Sunday, Cymbals Eat Guitars), Dancer is bursting at the seams with massive melodies and personality to spare.

The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe. The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky. Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushers in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.

Robodrum is simply one of the most talented electro producers out there now.

50 min of top-level retrofuturistic electro that will take you to an unknown (maybe hostile?) galaxy

Chris Crack is back with a brand new album called Growthfully Developed. Fans and critics alike are already calling it the Westside Chicago native’s best album in the last few years. Pitchfork said “Crack’s latest album is a delicate balance of fresh and familiar from one of the funniest and most thoughtful rappers working today.” With song titles like “Pussy Better When You Eat It First” and “Shitting With The Door Open,” it’s no wonder why he’s said to have the best song titles in the game. Whether it’s heavy hitting 808’s, soul loops or head nodding boom bap Chris laces up the variety of beats with style and finesse. Praised by media outlets such as Billboard and Rolling Stone as well as by iconic hip hop artists such as Earl Sweatshirt and Madlib. Like the album title suggests, Chris has fully grown and developed to reach this point in his career and critics will believe that Growthfully Developed be looked back upon as a pivotal album in his prolific career. The 18 track effort is set to drop on vinyl this fall via Chong Wizard Records in partnership with Fat Beats. TRACKLIST: 1. I The Buck They Couldn’t Break 2. Chicago Don’t Make Industry Plants 3. Therapy Don’t Work, Try Drugs 4. Jordan Never Did That Move 5. Pussy Better When You Eat it First 6. Whoa Dair 7. Celebrate Everything Until Further Notice 8. Uknowwhereihadderat 9. Ate Ball in My Sock 10. Illuminati Phone Numbers 11. Shitting with the Door Open 12. Nine 2 Fives Make You Fake 13. Beer Just Bread in a Can 14. A Blunt Forced This Trauma 15. That Hate Us Because We’re Magic 16. Air Mattresses and Machine Guns 17. Weed is an Expensive Habit 18 . No Shortcut to Enlightenment

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

Blue Vinyl

Das GRAMMY-nominierte Trio PVA veröffentlicht ihr mit Spannung erwartetes Debütalbum, „BLUSH“ Mitte Oktober auf Ninja Tune. Das Album der Südlondoner Band, das kurz nach ihrer 2020 beim Ninja Tune-Sublabel Big Dada (u.a. Yaya Bey, Young Fathers oder Diplo) veröffentlichten EP, „Toner“, erscheint, verbindet den Pulsschlag elektronischer Musik mit der rohen Energie eines lebensbejahenden Konzerts und offenbart mehr über das Trio, als sie bisher je preisgegeben haben. Die elf mitreißenden Tracks der Gruppe, bestehend aus Ella Harris und Josh Baxter (die sich Leadgesang sowie Synthesizer-, Gitarren- und Produktionsarbeit teilen) sowie Schlagzeuger und Perkussionist Louis Satchell, basieren auf einer Formel aus Acid, Disco, knallenden Synthesizern, der Befreiung des Dancefloors und kathartischem Spoken Word-Post-Punk.

PVA begann, als Harris und Baxter 2018 begannen, gemeinsam etwas zu machen, das sie als „Country-Friend-Techno“ bezeichneten. Ihre erste Show, eine Nacht namens „Narcissistic Exhibitionism“ im The Five Bells Pub in New Cross, fand nur zwei Wochen nach ihrem Kennenlernen statt. Der Abend wurde von Harris kuratiert und bot im Obergeschoss Malerei, Bildhauerei und Fotografie, während im Erdgeschoss Bands auftraten. Sie buchte PVA als Headliner. Einer ihrer ersten Songs, „Divine Intervention“, entstand, als Harris ihrer neuen Bandkollegin ihre Träume diktierte. Auf ihrem Debütalbum nehmen PVA die gleiche Energie aus der Live-Szene mit, während sie gleichzeitig eine ganzheitliche Welt voller Textur und Herz aufbauen. „BLUSH“ ist reich an schwergewichtigen Industrial-Beats, zerklüftetem Punk-Spirit und Momenten stiller Kontemplation durch Harris' poetische Lyrics. Das Album rennt unermüdlich vorwärts und verbindet Einflüsse wie Portishead, PC Music, Laurie Anderson und das kultige Rave-Pop-Duo The Pom-Poms mit Leichtigkeit. „BLUSH“ wurde während der verschiedenen Lockdowns geschrieben, eine Leidenszeit für eine Band, die es eigentlich gewohnt ist, die Grenzen ihres Sounds live auf der Bühne auszuloten. Diese Einschränkungen machten PVA aber nicht zu schaffen. Wenn überhaupt, fühlten sie sich durch die erzwungene Distanz in ihrem Songwriting gestärkt. Harris schrieb Gedichte und lernte, Musik zu produzieren, Baxter arbeitete mit anderen Künstler*innen als Produzent, und Satchell setzte sein Musikstudium an der City University fort und studierte unter anderem alte afrikanische Polyrhythmen.

After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated Asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers, and their know-how imported. For a few years, he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening.

"A Story of a Global Disease" is a short tale about artificial paradises of globalization, a melancholic walk through the exotic relics of free trade, where whim, appropriation, and appearances take precedence over otherness. Here, geishas eat chips, Europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits.

These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020. It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint and includes an unreleased track (Walk With Your Romance).

Naomie Klaus is a young artist from Marseille based in Brussels. In love with performance, constantly flirting with cinema and acting, Naomie seems to conceive her music as a big playground, a free zone of mischief in which she likes to experiment and interpret different identities, different characters. The result is funambulistic, a hybrid and synthetic form of a thousand influences that we can't really characterize: 90' Techno, loud Trip-hop, languid Pop, nonchalant Post-punk, dracular mass... Naomie Klaus doesn't know on which foot to dance and invites us to join a zone of in-between, has fun to plunge us in her strange tales for adults, where the princesses we meet are armed, hysterical, nymphos and badly dressed.

Following a B.F.E proposal to release on a limited vinyl edition, Teenage Menopause from France & Moli Del Tro from Brussels joined the project. Rude66 remastered these gems and Harrisson made the artwork.

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

Initially started as a a solo project until Deacon D. was joined by guitarist Åskväder in September 1999. After an hiatus HETROERTZEN resurfaced in Sweden in 2009 with the release of ‘Exaltation Of Wisdom’ issued on their own imprint Lamech Records. That album put forward the band’s early interest in the occult, Gnosticism and Illumination. 2016 saw the release of their critically acclaimed ' Uprising of the Fallen' previous album, HETROERTZEN are now releasing their brand new album entitled ' Phosphorus Vol 1' for a late Spring release on Listenable HETROERTZEN comment about ‘Phosphorus Vol 1' : " A new day has come to pass. A new ray pierces the veil of darkness and confusion. A new gem feeds the astonished sight and yet we walk through times of uncertainty before facing the switching Era… After five years of silence and lots of work, Hetroertzen finally give you the first Volume of ‘Phosphorus', which is the crown for our latest Opus or the new Sephira in our artistic/spiritual development. This is in fact a strong title, taken from the Vampiric-eucharistic ritual of the “Ecclesia Gnosticae” (Gnostic Church) which inspired the “Libation” passage in the Order of the Knight Templars; and even in the Catholic Mass later on. “Unless You Eat the Flesh of the Son of Man and Drink His Blood You Have No Life In You” The Royal Art or the Dragon’s Arts are present more or less in any occult teaching as Alchemy aims to conjoin separated ways into the quintessence of “Holy Marriage”. As one church focused on the feminine esoteric aspect of Communion and the other on the masculine; We use both sides unified as a more accurate representation of “unity” and “oneness”. (The One). 'Phosphorus Vol 1' consists of eight tracks plus one bonus track available on the CD version. They harvest the very soul of Wisdom and Salvation or Salvation through Wisdom as we see it. Each title encloses a key or “Clavicula” which reveals different passages to the Adept. Once more, the term “Eyes to see and Ears to hear” is fundamental when it comes to the listening experience to its fullest. As all of the previous works, this is a unique piece which complements our experimental / conceptual aura into its own mystic tree. Time will tell when the second volume faces the waves of turbulence. Certainly, it shall swallow the soul of the sleepers and haunt the dreams of those who knock at our door… Through plague and war, we survive the hand of destiny by the laws of cosmic thought and the bliss of this endless journey. Light of all Lights, blessed be ! "

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

LP + 7". Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the COVID-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

"Back to Westbeach with Donnel Cameron
I don't remember that much about this album. Erik had just quit heroin and he
was still sick.Two days after we finished, Erik checked himself into a rehab and
stayed there for two months. That was 7 years ago and he has been totally sober
ever since. Cool. He won't even eat chicken if it has wine sauce on it.
He made it clear that NOFX was more important to him than drugs. Anyway, I
don't remember how long this album took, but I do remember it took me a fuck of
a long time to sing. Standard." - NOFX
Tracks: Soul Doubt / Stickin In My Eye / Bob / You're Bleeding / Straight Edge /
Liza And Louise / The Bag / Please Play This Song On The Radio / Warm / I
Wanna Be Your Baby / Johnny Appleseed / She's Gone / Buggley Eyes

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

Limited run of 300x. No repress!

The Pearl is a collaboration between Planteaterz and the mercurial NYC rap-mystic, Sensational. The EP features four songs recorded in the winter of 2021 with Sensational on the mic and eaterz on production, and is accompanied by instrumentals and killer remixes by Maara, J. Albert, and Lowjack.

The Pearl is a sound, a world, and definitely a vibe.

We’re pleased to share the fruits of this collaboration with you here.

LIMITED 180GM BLACK VINYL INCLUDES DOWNLOAD CARD WITH 8 BONUS TRACKS. GATEFOLD + BOOKLET INCLUDED.

During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year old Janet Armstrong on vocals alongside Guy, ‘Ventilation’ best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80’s gem ‘Absolute Beginners’. By this point Kev Armstrong was also guesting for Bowie on guitar duties too.

Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). ‘Sang Sang’ is a good example of how he was inspired to deliver his poetic treatises over the band’s atmospheric, floating improvisations. Bertie’s impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. ‘Still Obedient’ fidgets, soars and careens across the dancefloor, “if you’re ahead close your eyes, you won’t notice the subtitles” chants Guy.

By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn’t win out, they’d eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa & even David Lynch and could feel the light beginning to shine through. ‘Dark World’ is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie’s nest. Emergent, hopeful and resistant in sound and ethic.

14 brand-new songs of destruction and dastardly deeds - Worth it's
weight in crack, this is the soundtrack for The New Dark Ages
The album is loosely based on their new graphic novel which is on sale in comic
book stores simultaneously. In addition, their award winning documentary This Is
GWAR will be showing in theaters and on streaming platforms this Summer.
nterest in the band is reaching a new peak following their wildly successful fall
2021 headline tour which included many sold out dates. Blothar is also now a
monthly recurring 'alien correspondent' on Gutfeld which airs weekly on Fox
News.

: Found In The Flood was the second studio album from Arizona hardcore / punk band The Bled, originally release in August 2005.

Found In The Flood was produced by Mike Trombino (Jimmy Eat World, Blink 182, The Starting Line), and was the band's first release after signing with Vagrant Records. The band’s guitarist Jeremy Ray Talley recently commented on their time with the label, speaking with Kerrang Magazine: “We signed to Vagrant because it was a label with a great reputation of taking care of their bands and helping them get to the next level, without having to compromise artistic vision,”

This new pressing is the first since 2014, with two new colourways available and packaged in a hand-numbered outer sleeve. The re-issue is released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

: Found In The Flood was the second studio album from Arizona hardcore / punk band The Bled, originally release in August 2005.

Found In The Flood was produced by Mike Trombino (Jimmy Eat World, Blink 182, The Starting Line), and was the band's first release after signing with Vagrant Records. The band’s guitarist Jeremy Ray Talley recently commented on their time with the label, speaking with Kerrang Magazine: “We signed to Vagrant because it was a label with a great reputation of taking care of their bands and helping them get to the next level, without having to compromise artistic vision,”

This new pressing is the first since 2014, with two new colourways available and packaged in a hand-numbered outer sleeve. The re-issue is released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

Hailing out of Philadelphia, PA, OT The Real has been working relentlessly to put himself on the map. Following the successful release of several projects (including The Irishman, You Are Who You Eat With, Evil Empire, and more), OT now links up with producer DJ Green Lantern to bring you Broken Glass. The new collaborative album is fully produced by DJ Green Lantern and also features heavy hitters such as Benny The Butcher, Millyz, SKNJ, Mizz, Uncle Murda and Eto. The duo showcase their talents on each of the 13 tracks with an undeniable rapport among OT's gritty bars and Green's filthy production. This one is pure hip hop through and through and a must cop for every fan and collector alike.

Pressed On Emerald Green Vinyl
Limited To 300 Copies!
OT's First Vinyl Release!

THE 1994 ALBUM REMASTERED BY ED WYNNE & RELEASED ON
CLASSIC BLACK VINYL.

One of the most influential bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible rave grooves & psychedelic progressive rock.

It's an open exploration of music & the soul. The band's last release to feature Merv Pepler & Joie Hinton, who left to form Eat Static, 'Arborescence' was the Ozrics' fifth studio effort in as many years. Soundscape textures remained their focus & their strength, with the now trademark Steve Hillage- esque guitar, gurgling & whirling synths & tight rhythm section all wrapped around rave, techno, African & Middle Eastern influences.

The tracks alternate between the power driven ('Myriapod', 'Shima Koto', 'Astro Cortex'), classic Ozric Tentacles space rock ('Dance of the Loomi', 'There's a Planet Here', the title track) & those with an ethnic flavour ('Al- Saloog'). The powerful music here, embellished by plenty of synth dweedling & strong rhythm patterns, takes the listener of open mind & free spirit to somewhere special. Classic Ozrics then. Arborescence' will be released on classic black vinyl via Kscope.

THE IRON GIANT (1999) ist ein moderner Animationsklassiker mit einer wunderschönen, sympathischen Filmmusik von Michael Kamen. Diese Deluxe Edition des 2-LP-Sets erweitert den Original-OST mit alternativen Stücken und seltenen Demos - darunter ein bisher unveröffentlichter Song, ”Souls Don’t Die”, der auf Kamens Thema basiert und von Kamen und Eric Clapton gesungen wurde. Die innovative Verpackung verfügt über eine Zuglasche, mit der sich die Augen des Roboters auf der Außenhülle öffnen lassen, und je
nachdem, welche Innenhülle sich hinter dem Cover befindet, zeigt sich ein anderes Bild.

Die wunderschöne, einfühlsame Filmmusik zu Iron Giant stammt von Michael Kamen - eine seiner letzten großen Filmmusiken und sein erster Animationsfilm, weit entfernt von den Action-Blockbustern, für
die er bekannt geworden war, aber viel näher an seinem Herzen. Kamens großartige Partitur ist voller Melodie, Humor und Sensibilität und wird von der Tschechischen Philharmonie großartig dargeboten. Sie ist so groß wie die Bedrohung durch die nukleare Vernichtung und so intim wie die Güte, die den neunjährigen Hogarth Hughes mit der außerirdischen Maschine verbindet - der beschließt, dass er lieber ”Superman” als eine Waffe wäre.

British soul royalty John Turrell's classic debut solo album 'The Kingmaker' is given a much-deserved release on a limited edition yellow vinyl LP. Delivering eleven stunning raw vocal performances on emotionally searing tracks, Turrell manages to span upbeat northern soul jaunts, downtempo bluesy groovers and emotive ballads in a cohesive collection that never ceases to treat the listener.

Created with writing partner and producer Nick Faber as a reflection and meditation on the ebb and flow of a normal man's life, authenticity and relatability are two key characteristics of the writing style on this record. While it is an album that references a diverse set of influences there is an unmistakable soul and blues sensibility that courses throughout the tracks. There are the same recognisable soaring vocals and heartfelt lyricism from the 'Smoove & Turrell' frontman that long term fans are used to (Smoove even lent a helping hand with engineering duties on the record) however this is undoubtedly a case of John running his own show.

LIMITED NEON YELLOW LP with gatefold insert and digital download card.

Repressed on vinyl for the first time in a good while, limited availability. Spoke is the debut studio album of Calexico, from Arizona. The back cover photo of Spoke is a furrowing farm machine, and in the context of this recording, one might imagine clouds of birds following the machinery to eat up the disturbed insects. Calexico snatch up the bits of Americana turned out by a rototilling of the national music psyche. The 19 resultant tracks can be small as insects (the shortest being half a minute in length) and erratic in flight; there are lo-fi songs and themes that proceed without concern for what came before. One bit is held up by guitar, another by accordion, then one by vibes. A bit of desert dust sprinkled throughout may be the only constant theme -- a Santa Fe rummage sale of sounds. Spoke is very intriguing and well worth exploring.

Long-established house talent Bontan makes a much-anticipated return to Hot Creations in June. Gifting us with the two-track Gold Teeth, it showcases the UK-native at his best and continues a standout 2022 that has already seen him release on Hot Since 82’s Knee Deep In Sound last month.

Shamanic-like drums create a hypnotic sensibility right from the word go, as we’re graced with echoing vocals on Gold Teeth. There’s an air of tribalism throughout via shimmering maracas and rhythmic hi-hats, before Heart Shaped Leaf takes on a techy edge. Cow bell-esque percussion undulates beneath a low-slung bassline whilst spacey lyrics repeat nearby, forming a peak-time, club-ready cut.

Since first bursting onto the circuit in 2015, Bontan has become one of the best-selling acts on Beatport, a winner at the prestigious DJ Awards and has firmly cemented himself in the underground house scene. He has released on labels such as Crosstown Rebels, Defected and Origins and remixed for artists including Groove Armada, Booka Shade, Melé and Yousef. He kicked off 2022 with a remix of Agenda for Lazarusman, which reached Number 3 in Beatport’s Afro House chart, as well as releasing Stutterman on Club Bad. His releases this year have received support from Jamie Jones, Skream, Eats Everything, Agoria and Chris Lake to name a few, a testament to Bontan’s keen ear for production.

Das 1995er Album von Trouble liefert eine ordentliche Portion Stoner Metal!

Uns gefällt, was Trouble mit diesem Album, "Plastic Green Head", gemacht haben. Die Musik klingt zwar nicht ganz so wie die völlig doomigen, erdrückenden Riffs auf dem früheren Material, aber was Trouble hier machen, klingt alles andere als nicht authentisch. Um nicht in die Irre zu gehen: Es klingt definitiv immer noch nach Trouble, aber sie scheinen einen entspannteren Stoner-Metal-Ansatz gewählt zu haben; sie opfern die düsteren Atmosphären für beschwingtere Stimmungen.

Die ersten paar Tracks sind absolut fantastische Angebote von Vintage Trouble. Das verspielte, thrashige Riff des Titeltracks, das das Album er- öffnet, ist ein großartiger Einstieg in die Musik.

Das spielerische, thrashige Riff des Titeltracks, das das Album eröffnet, ist ein großartiger Einstieg in die Musik, und Eric Wagners markanter Gesang klingt kraftvoll darüber. "Plastic Green Head", "The Eye" und "Flowers" sind allesamt das, was man was man von Trouble erwarten würde, riesige, aufgewühlte Riffs, 80 bpm Drumbeats, Eric Wagners nasale und doch kraftvolle Stimme. Sie sind einfach, sie sind eingängig, und sie sind einfach nur gut. "The Porpoise Song" ist eine Coverversion eines Songs von The Monkees, und seltsamerweise ist sie sehr gut. Eine große Wand aus Gitarrenlärm und Eric singt mit einer weniger nasalen und melodischeren Stimme. "Opium Eater" klingt, als könnte es ein Alice in ChainsSong sein.

Auf diesem Album gibt es jede Menge Sabbath-Verehrung, aber auch ein eher beschwingtes Hardrock-Gefühl. Wir würden sogar sagen, dass sich ein wenig Grunge in ihren Sound eingeschlichen hat. Sound eingeschlichen hat (um fair zu sein, ist es wahrscheinlich umgekehrt, der Trouble-Einfluss hat sich in den Grunge eingeschlichen). Wenn du nach einer schönen Dosis Stoner Metal suchst, wirst du genau das hier finden. Es gibt jede
Menge einprägsame Riffs, die für einen hohen Wiederspielwert sorgen, und obwohl man nicht so viel Doom findet, wie man es vielleicht von
Trouble erwarten würde, ist er dennoch vorhanden, wenn man danach sucht.

We like what Trouble have done with this album, “Plastic Green Head”. The music sounds fairly dissimilar to the completely doom-laden, crushing riffs present on the earlier material, but what Trouble do here sounds every bit authentic. Not to mislead you, this definitely still sounds like Trouble, but they seem to have adopted a more laidback, stoner metal approach; sacrificing sinister atmospheres for more upbeat ones. The first few tracks are completely awesome offerings of vintage Trouble. The playful, thrashy riff of the title track, which opens the album, is a great introduction to the music at hand and Eric Wagner’s distinctive vocals sound powerful overtop. “Plastic Green Head,” “The Eye,” “Flowers,” these are all what you would expect from Trouble, huge churning riffs, 80 bpm drumbeats, Eric Wagners nasal yet powerful voice. They are simple, they are catchy, and they are just plain good. “The Porpoise Song” is a cover of a song by The Monkees, and strangely enough it’s very good. Big wall of guitar noise, and Eric singing in a less nasal and more melodic voice. “Opium Eater” sounds like it could easily be an Alice in Chains song. On this album there is silly plenty of Sabbath worship, but also more of an upbeat, hard rock feel. We would even say that a little grunge has crept into their sound (to be fair, it’s probably the other way around, Trouble influence crept into grunge.) If you’re looking for a nice dose of stoner metal, you’ll find just that right here. There’s plenty of memorable riffs which provide good replay value, and although you won’t find as much doom as you might expect from Trouble, it’s still there if you look for it.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

"This is the sound of a band empowered. Nothing - not our traumas and losses, not those who have underestimated or undermined us - can stop us. Those who seek to oppose us; your sins will catch up to you. We know who we are. We are united and you will fear us." Ithaca - They Fear Us ---------------- Formed in 2012 out of a mutual love of metallic hardcore but despair at its lack of ambition, Ithaca exist to challenge everything you thought about what a band that makes heavy music should look and sound like. A glitter-covered nailbomb, Ithaca seamlessly blend the brutality of Relapse Records metalcore with blackgaze, 90s industrial metal, 70s prog and even tinges of 80s power pop. Their influences stretch beyond the musical - this album comes with a clear vision and aesthetic: drawing from members’ different ancestral heritage, queer/non-conforming identities and iconic figures in avant-garde, new wave and post punk culture. Their upcoming second album ‘They Fear Us’ is the sound of a band healing from trauma - standing in their own, unapologetic voice. Furious and wildly inventive while also being more coherent and accessible, this album will introduce Ithaca to a wider audience than they’ve ever had before. To quote the band - ‘those who oppose us; your sins will catch up to you. You will fear us’. Ithaca's 2019 lauded debut ‘The Language of Injury’ was followed by their early 2020 tour with Grammy-nominated indie rock band Big Thief, starting at London’s Hammersmith Apollo. Press support from Pitchfork, BBC R1, Metal Hammer, Kerrang!, Rock Sound, Revolver, Decibel, BrooklynVegan, and performances with Bleeding Through, Jamie Lenman, Anaal Nathrakh, The Number Twelve Looks Like You, at Boomtown Fair and ArcTanGent Festival mark Ithaca as one of the most exciting and vital new voices in UK heavy music currently. Ithaca have also appeared on Ed Gamble’s Spotify podcast ‘Lifers’, Sky News and BBC3.

The Idealist is one of the many projects of Joachim Nordwall who has a long history in Swedish experimental music running the quintessential iDEAL Recordings record label since 1998, as a member of the psych-drone duo Alvars Orkester, avant punk rock trio Kid Commando and ritual drone rock group The Skull Defekts and through his many solo recordings and collaborations with people such as John Duncan, Aaron Dilloway, Mika Vainio, Mats Gustafsson, Leif Elggren, Gabi Losoncy, Mark Wastell and Christine Abdelour.
As The Idealist, he has been delving into an amalgam of experimental techno, dub and industrial music since 2006. His new A Lion Is A Lion And Not A Lamb continues this perspective unabatedly, conjuring up six tracks that shimmer with an almost psychotropic intensity, sometimes including acidic touches, dwelling in a confrontational minimalist musical stance where repetition, bursts of gorgeous noise and dubbed out skeletal rhythms make for wayward yet driving grooves at home on the dance floor and a set of headphones alike. The Idealist looks for engagement within rhythm, in its almost purest
form.