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Viels debut on Attic Music.

First press of the Dillinger Escape Plan singer's 2022 Album

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

In their ever-expanding search for good electronic belters, Forbidden Dance Records went into building a bridge between two continents responsible for so many good artists in the last few decades, with some of them being true legends of the house sound. From Detroit to Napoli and Marseille. From Zurich and Bari to Chicago. Ladies and gentlemen, this is ‘Bridges: An American – European Dance Connection”

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

SECOND TITLE IN THE LOCKDOWN TRILOGY 'CLAUSTROPHOBIC
UNIVERSE' NOW AVAILABLE ON VINYL.In 2020, Polish Prog multiinstrumentalist Mariusz Duda (Riverside, Lunatic Soul) decided to
conduct an experiment
He set out to create a third music world, independent of his band 'Riverside' &
solo project, Lunatic Soul. A world which would differ stylistically from the
previous two & underline the first steps he took in music.
30 years ago, a certain shy boy fascinated by the works of Jean Michel Jarre,
Vangelis & Tangerine Dream, locked himself up in his room & started to think up
his original music stories. He recorded them on cassette tapes, created covers
for them & arranged them on the shelf next to those of his masters. 30 years
later, when the world was taken over by a pandemic & an international lockdown,
Mariusz was beamed back to his childhood bedroom, where he was reading &
drawing comic books, playing games, listening to lots of music from cassette
tapes... & recording his own electronic sounds. "Why not do it again?" he thought
to himself, feeling inspired. "Why not create a new project where I will play only
the keyboards? And why not sing it just like I used to when I was a kid? Simply
'Mariusz Duda'".
And that's exactly what he did. Between 2020 & 2021, he recorded & released
online three electronic albums that make up the "Lockdown Trilogy".
'Claustrophobic Universe' is not an album inspired by books about astronomy &
astrophysics. It's an album about a journey into our mind. The universe here is a
metaphor for our escape from reality, escape to the place where we soothe our
response to stimuli.
MARIUSZ DUDA'S SECOND IN THE TRILOGY IS OUT VIA KSCOPE

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Vessels promise an escape from responsibilities towards the landscape, they facilitate our avoidance of conscientiously feeling our attachment to the mainland. The visual nothingness of deep water and clean horizons fools the brain and delivers a treacherous feeling of independence.

We ignore the truths expressed by landscapes, so we mould them into urban projects for our strange desires. We clean up the irrationalities by which nature constructs itself. Then we look up to the skies, where the abstractions we have to draw in our minds should reside and inspire us.

We peer into the various shades of blue above the waters, the emptiness guarantees possibilities of our abstractions becoming realities. The apathetic stare into neat, straight horizons transforms our ancestral landscape into dirt and danger, when looking back to it.

To be on a ship under quarantine, is an upside down experience, for the promised escape has turned into a forced paralysis. The Lima flag (? - ? ?, in morse code), presented on the outer sleeve of this record, indirectly demands of all passengers to stay aboard and contemplate their escape from the land they now desire to return to.

These four piano pieces could be considered as a classical sonata (allegroadagio-scherzo-rondo). In a recital they are accompanied by four video pieces by artist Karl Van Welden. We picked the videos out of his extensive archive, choosing images intuitively while listening to the piano music. The theme of ships relating to quarantine thus came unannounced but of course, we were in the middle of the pandemic at the time.

Solastalgia was already waiting as a title for the new album before march 2020. I first came across the word in Underland, a book by Robert Macfarlane (2019). He defines the word as "The unhappiness of people whose landscapes are being transformed about them by forces beyond their control". These forces and this unhappiness are, I believe, what constitutes the modern human. Solastalgia, about the music We haven't found them yet, the words to talk to each other about the worrying signs of climate change. Feeling worried when walking on autumn leaves in the beginning of August should be completely normal. But how do we communicate about it? We don't want to be just the next hysterical doomer.

With this music I try to focus on the climate pain itself, gently inviting the listener to investigate their latent feelings of unease and growing concerns about the environment. As in real life, we circumvent the real issues because they are just too big, there are no words, no expressions yet.

This album tries, in four different attempts, to carve out a path towards communicating about a deeper pain that eventually will connect us all. My general method is to start with a comforting melody, full of fake nostalgia, which, after changing gear to autodestruct mode, morphs into a painful question mark.

The first part sets off with an idyllic melody, accompanied by repeated notes, as a far, muted echo of an alarm. The melody starts to explain itself painfully into a dissonant whirlwind in the high register, sounding not unlike Ravel's Gaspard de la Nuit bravura. In the second piece a warm Beatles like melody (And I love her) gets confronted with the weird hippie mantra of a later Lennon song War is over, if you want it. Sentences get reduced to syllables and result in lonely notes that crash and shiver under the burden of too much meaning. Like Shostakovich's latest work, the Sonata for viola and piano.

The descending melody of Bach's Erbarme dich, Mein Gott is echoed in the upper and lower voicings of the third piece, juxtaposed to a typical, threatening Ennio Morricone Western dotted rhythm accompaniment. This rhythm eventually evolves into citing the 1972 Captain Beefheart early ecological warning song Blabber and Smoke (there's a big pane/pain in your window, it's gonna hang you all,... dangle you all). Towards the middle of the piece, the music explodes and the three layers get dispersed all over the keyboard in a virtuosic maelstrom towards another painful question mark. The bitter answer is going back to business with a barely noticeable citation of the first notes of the RZA's Liquid Swords album.

The final piece is some kind of mantra, the same 7/4 pulse all throughout the piece. The dampers of all A's and B's on the keyboard are released by the middle pedal, thus sustaining an ever present resonance. Melodic cells alternate in shifting quantifications with small, bell like percussive cluster playing. While composing this piece an image crept up: walking out of the church on Sunday morning, tolling bells enthusiastically moderating the churchgoers' small talk in the local dialect. Apparently I have tried to evoke this kind of conversation, but injecting it with fictitious alarming conversation topics, the contemporary.

Frederik Croene (August '22)

Tradition and experimentation are two familiar territories that C"mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C"mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C"mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C"mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3d artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater: Scenario is also released in a colored vinyl + book version, including a volume to browse through with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears.

Tradition and experimentation are two familiar territories that C"mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C"mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C"mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C"mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3d artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater: Scenario is also released in a colored vinyl + book version, including a volume to browse through with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears.

For fans of Rush, Evanescence and Progressive Metal! The synergistic sound and seemingly telepathic energy behind Dianthus can be traced to their beginnings in the heart of Riverside, California. Inspired by the well-known perennial flower, twin sisters (Jackie and Jessica Parry) bring forth delicate, yet dominant voices to the metal scene. An early upbringing in classical piano led them to begin creating music together at a young age. Not long after, they were captivated by the heavier genres in metal. The two enhanced their musical palettes with the addition of drums and electric guitar. Since forming, Dianthus has gained the likes of well-respected musicians such as Matt Sorum (Guns ‘N Roses / Velvet Revolver / Hollywood Vampires / The Cult) and Jeremy ‘Jinxx’ Ferguson (Black Veil Brides) who produced their debut CD. The twin metal duo are now ready to release their brand new album “Realms” which was produced by Steve Evetts (The Dillinger Escape Plan, Symphony X, Butcher Babies, etc.). They had previewed the tracks “Realms” and “Creeping In” during the height of the pandemic in 2020 and now have finally been able to get in the studio and finish up their much-anticipated sophomore release. “Dianthus just released their new single "Realms" and it's probably going to get stuck in your head. The duo employs soaring guitar melodies, perfectly grounded drums, and excellent vocal hooks through the track for an overall killer experience.” – Metal Injection

Track listing: Realms; My First Breath Don't Change Creeping In The Quest for Nessie Spines Side B A Space in the Silence The Returning Lonicera Heart's Ease Nora's Finding; Secrets & Promises

"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

5 Year Anniversary Repress of the seminal debut album, on Black Ice vinyl with special Black Foil Gatefold packaging. Original Sales Text Below: The new project from The Dillinger Escape Plan's Greg Puciato, Telefon Tel Aviv/Nine Inch Nails's Josh Eustis and programmer Steven Alexander, The Black Queen have announced details of their debut album. 'Fever Daydream' will be released on 5th Feb, supported by a couple of new live dates: one on the day at Complex LA in Glendale, California and one on 5th February at Oslo in Hackney, London. The band have also unveiled a video for featured track 'Maybe We Should' Setting down somewhere between goth soaked synth pop, shoegaze and the neon bathed desolation of the Blade Runner soundtrack, Fever Daydream showcases frontman Greg Puciato's unquaestionable artistic talent. An album of Raw Nerves, dense textures and confessional fervour for fans of Depeche Mode, Nine Inch Nails and Joy Divison. The ten song Fever Daydream was written, recorded and produced by the band themselves, with Justin Meldal-Johnsen (Beck, M83, The Naked and Famous) executive producing and offering insight along the way. With the level of talent, innovation, and the air of mystery that surrounds the band, it is an unexpected journey through sound merging the past and laying groundwork for a hauntingly beautiful future. Band Members: Greg Puciato Josh Eustis Steven Alexander

New pressing on double coloured vinyl, (Disc one White & Disc two Pink), Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments. Track listing: Side A A1 Opening Credits A2 The Chase A3 Saved/Captured A4 The Bracelet A5 Council of Draags pt.I A6 Terr & Tiwa A7 The Knowledge pt.I Side B B1 The Fight B2 The Knowledge pt. II B3 The Initiation B4 Escape B5 The Big Tree B6 The Ritual B7 The Duel Side C C1 Theft/Zarek C2 The Bird C3 The Free Oms C4 The Purge C5 The Journey to Ygam C6 Council of Draags pt.II Side D D1 The City of Free Oms D2 Robot Attack D3 The Fantastic Planet D4 The Final Battle D5 Terr D6 End Credits

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

Christopher 'Lav' Landin is a master of ambient sounds but it's been a while since we heard from him after 2017's collab with Purl on A Strangely Isolated Place. A New Landscape is a fresh album on Past Inside The Present that comes on limited and transparent orange vinyl. Contained within are a beguiling bunch of tunes with soul stirring pads, gently propulsive rhythms and gorgeous sound designs that call to mind various different references from deepest space to a warm spring day. It is an accomplished album design for mental escape.

Back in stock !

Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Johnny Clarke ruled the Dancehall in the mid 1970’s, using the cleaver 'Flyers Rhythms' that gave some of his tunes an edge with the Sound Systems. But his voice was always.
bigger than this and his versatility to sing a wide range of vocal styles, has seen him cut through the decades as one of Reggae’s best voices.

Johnny Clarke (b.1955.Jamaica) cut his musical teeth at the age of seventeen, recording his first song ‘God made the sea and sun’ for Producer Clancy Eccles. A low-key release but one that led to Johnny catching Producer Rupie Edwards eye, when he appeared at a talent contest at Bull Bay. Impressed by his voice both live and on disc, Rupie cut a few tunes with Johnny, ’Don’t Go Julie’ and ‘Everyday Wondering’ the latter of which had success not only in Jamaica, but also in the UK reggae market. The back bones of ‘Everyday Wandering’ now voiced by Rupie himself would lead onto an even bigger hit in the 70’s with the classic ‘Irie Feelings’.

Johnny Clarke’s decision to move on around this time coincided with producer Bunny ‘Striker’ Lee looking for a new singer to compete in the ever-moving Dancehall arena. Johnnie’s break came in a strange way, having provided backing vocals initially to a Bunny Lee produced cut, Earl Zero’s ‘None Shall Escape the Judgment’. The very same session the drummer on the track, Carlton ‘Santa’ Davis, when asked by Bunny to come up with some new sound and while working the High - Hat cymbals, hitting it when open, then when shut (based on the Philadelphia Disco Sound known as the Phili - Sound) gave what the reggae world would call a ‘Flyers Sound’. On transferring the tune to four tracks to mix down at King Tubby’s studio, Earl Zero’s vocal was mistakenly left off. Johnny Clarke being present at King Tubby’s and knowing the track already inside out, then sang the lead vocal. The track became a smash Sound System favourite and the rest as they say is history.

Johnny Clarke became one of Bunny’s main vocalists during the heyday that was the 1970’s. It’s from this vast cannon that we have selected some of the singer’s finest cuts. His soulful voice worked the musical field from Dread to Rockers to Lovers Rock.A great gift that on playing this album we hope you’ll agree carries through with the tests of time.

Next up on the Kyiv-based label Kashtan comes from a very promising Ukrainian artist Monoconda.

Oleksandr Filonenko aka Monoconda is a Kyiv based multi-instrumentalist, music composer, sound producer and a live performer. While making music for commercials, theater and public places, Monoconda started to release his own electronic music in 2018 with an album called "Alphabet". His second release, "Low Light" was recorded during the pandemic isolation, and was named as one of the best records of the year by top Ukrainian musical journalists. There was much music recorded after that, alone and in collaboration with different musicians, but the pandemic and the war have made the release process somehow impossible or at least quite a hard quest. But the music is always being done, cause that's what he is here for.

The main concept of the Kyiv label Kashtan is to identify and carefully choose the pearls of Ukrainian electronic music, which are not defined and limited by genre definitions. This playing with genres has been released through the album "Horizon" by musician Monoconda.

“20 Centuries Gone” is a collection of two new original songs and six cover songs that span the timeline of SPIRIT ADRIFT’s most foundational influences. Featuring artwork by Brian Mercer (Lamb of God, High on Fire, Mastodon), and mixed by Zeuss (Overkill, Crowbar, Municipal Waste), this release is a powerful journey through the past, present, and future of classic metal’s most exciting new band. SPIRIT ADRIFT mastermind Nate Garrett comments: “I always thought it would be a cool experience to record some songs by bands that are foundational to the DNA of SPIRIT ADRIFT. These choices are obvious and on the nose to me, but maybe unexpected to the fans. That made the whole thing a lot of fun. A band like Lynyrd Skynyrd might not be the first thing you think of when considering SPIRIT ADRIFT’s influences, so the task for me became figuring out how to honor these great songs, but in the distinct SPIRIT ADRIFT style. To make the whole thing even more special, I channeled these influences and wrote a couple of new songs to kick things off. There’s a lyric in ‘Sorcerer’s Fate’ that mentions ‘past and future both aligned,’ and that became the concept here. The whole thing is presented in reverse chronological order. That way, you get a sense of where SPIRIT ADRIFT is headed, but you’re also taken on a journey back in time through our most fundamental influences. Hope y’all enjoy it!” “20 Centuries Gone” is available as: LP, Standard CD Jewelcase and Digital Album

20 Centuries Gone' ist eine Sammlung von zwei neuen Originalsongs und sechs Coversongs, die die Zeitachse der wichtigsten Einflüsse von SPIRIT ADRIFT umspannen. Das von Brian Mercer (Lamb of God, High on Fire, Mastodon) optisch gestaltete und von Zeuss (Overkill, Crowbar, Municipal Waste) abgemischte Album ist eine kraftvolle Reise durch die Vergangenheit, Gegenwart und Zukunft der aufregendsten neuen Band des klassischen Metal. SPIRIT ADRIFT-Mastermind Nate Garrett kommentiert: 'Ich dachte immer, es wäre eine coole Erfahrung, einige Songs von Bands aufzunehmen, die die DNA von SPIRIT ADRIFT begründen. Diese Auswahl ist für mich offensichtlich und naheliegend, aber für die Fans vielleicht unerwartet. Das hat die ganze Sache zu einem Riesenspaß gemacht. Eine Band wie Lynyrd Skynyrd ist vielleicht nicht das erste, was einem einfällt, wenn man an die Einflüsse von SPIRIT ADRIFT denkt. Also war es meine Aufgabe, herauszufinden, wie man diese großartigen Songs ehren kann, aber im unverwechselbaren SPIRIT ADRIFT-Stil. Um die ganze Sache noch spezieller zu machen, habe ich diese Einflüsse kanalisiert und ein paar neue Songs geschrieben, um die Sache in Gang zu bringen. In 'Sorcerer's Fate' gibt es einen Text, in dem es heißt, dass 'Vergangenheit und Zukunft aufeinander abgestimmt sind', und das wurde zu dem Konzept dieses Releases. Die ganze Sache wird in umgekehrter chronologischer Reihenfolge präsentiert. Auf diese Weise bekommt man ein Gefühl dafür, wohin SPIRIT ADRIFT sich entwickelt, aber man wird auch auf eine Reise in die Vergangenheit durch unsere wichtigsten Einflüsse mitgenommen. Ich hoffe, es gefällt euch!

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Jóhann Jóhannsson's original score for Denis Villeneuve's film The Prisoners (the Hugh Jackman/Jake Gyllenhaal blockbuster) on double vinyl, with double sided full-color. insert.

How We Function' is the debut album from London grunge trio BERRIES. Live shows and festival appearances in the UK planned for throughout the year to support the release, including 2000Trees and Kendal Calling; shows in Germany supporting The Subways in May and at Frank Turner's Lost Evenings V Festival in September. Plus support tour with Jim Bob from Carter in November and their own UK shows in October. RELEASE TIMELINE: TRACK 1 - 'Wall Of Noise' - 11th March 2022 - single Wall of Noise is the latest offering from BERRIES debut album due to be released in July. Lyrically the song gives a nod to self-doubt and how solitude can heighten and affect these feelings. Feeling lost or confused can produce the noisiest thoughts in your mind and that’s what BERRIES wanted to convey in this song. They push dynamics and layers to create the "noise" that so many people are often trying to escape in their own thoughts and the development of that "noise" throughout the song. TRACK 2 - 'We Are Machines' - 13th May 2022 - single + announce of album This single launches the album campaign for BERRIES' debut 'How We Function'. It is a song about struggling in a demanding society and being exploited by people who have little empathy or concern for your well-being. The song touches on how we are forced to become machines, trying to maintain an impossible level of perfection and how we need to fight against this. Admitting we are only human and finding the strength to stand up and push for balance and rights. In turn, becoming a different type of machine.

Fear Factory ist eine amerikanische Industrial-Metal-Band, die 1990 in Los Angeles gegründet wurde. Im Laufe ihrer Karriere haben sie neun Alben veröffentlicht, ein zehntes Studioalbum ist für 2021 geplant. Sie haben sich durch eine Reihe von Klängen entwickelt, alle im Hauptstil von Groove Metal und Industrial Metal. Die Band hatte großen Einfluss auf die Heavy-Metal- und Industrial-Szene, vor allem Mitte bis Ende der 1990er Jahre, inspiriert aber auch heute noch junge Musiker. Soul Of A New Machine ist das Debütalbum der Band für Roadrunner Records und wurde am 25. August 1992 veröffentlicht.

Throughout Grace After a Party we hear Jemima Coulter reaching beyond themselves toward a tender yet magical universality. What results is a pastiche of remembered, dreamed and imagined fragments, a debut album that feels as visual as it does auditory. “I created somewhere I could escape to,” says Coulter. “I imagined people in my mind, had conversations I’d never had. It seems to have created an album that’s a hallucination where I’m half me, half someone else.” But there’s a sense of coming full-circle in these songs, a reminder that as much as we try to reach beyond, we remain invariably ourselves. “They were all stories I was telling myself,” Coulter says, “and then I realized that there was something I needed to say, that it wasn’t just a story, but something about me as well.” Grace After a Party will be released 29th July via Hand In Hive.







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Nearly 20 years ago, Karl Sanders – the founder, principal songwriter, and driving creative force behind the exotic, devastatingly heavy stylings of American extreme death metal icons Nile – forayed from his metallic leanings to serve listeners with a transfixing dose of the cinematic, meditative, world music-driven Saurian Meditation (2004). The album explores highly original compositions of hypnotizing, primarily Middle Eastern inspired music, featuring the unique inclusion of instruments such as the balagma saz (Turkish lute) and Glissentar, often blended with dark electronic ambience and deft electric guitar work. Saurian Meditation marked the beginning of Sanders’ Saurian journey, being the first of now three Saurian releases. From the haunting first notes of “Awaiting the Vultures”, which dreamily conjures images of traversing through the dark, mysterious halls of an abandoned ancient temple, to the slithering, percussion-driven pulses and searing electric solos on the ominous album closer “Beckon the Sick Winds of Pestilence” – Saurian Meditation provides a diverse escape for both fans of Nile and the outer realms beyond. Thematically centered around its acoustically-driven, spellbinding seventh track, “Dreaming Through the Eyes of Serpents”, the album ebbs and flows from a higher, rhythmic consciousness to a darker, hypnotic inner balance, achieving a Reptilian Theta State of deep meditation. Saurian Meditation launches the multi-dimensional Saurian universe – witness the very first, transcendental solo output by Karl Sanders, available for the very first time on vinyl, as well as in CD and digital formats, via Napalm Records!

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. In dark, troubling times, maybe the most instantly gratifying solace one can seek is a wittily barbed diagnosis of the situation. “The fox has his den. The bee has his hive. The stoat … his stoat-hole,” Stewart Lee once remarked: “But only man chooses to make his nest in an investment opportunity.” Caustic retorts like this are what fuel the debut EP by dance-punk outfit Regressive Left, ‘On The Wrong Side of History’. For pervading through their dynamic and glitching music is a duty to report unflinchingly society’s ills. They are a staunchly political group, but far from your average po-faced by-numbers punk band. There is a gristly social commentary at the band’s core, but the songs themselves are characterised by a need to have fun, to find some kind of solace and escapism from the inevitable rapture. Recorded over an intense 5-day spell with in-demand producer Ross Orton (Arctic Monkeys, MIA, Amyl and The Sniffers) in Sheffield, Regressive Left’s debut EP ‘On The Wrong Side of History’ was immortalised over a handful of 11am-1am sessions in his studio. In many ways it is a time capsule of the maelstrom of ideas that got the group to this point in the first place – the infuriating, bleak political climate, and the urge to find escapism from it – consigned to vinyl in one herculean effort. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable. Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music Due out July 15th on Bad Vibrations Records, the new EP arrives following a trio of acclaimed singles (‘Eternal Returns’, ‘Take the Hit’, ‘Cream Militia’), tours with the likes of Bodega and Folly Group, festival appearances at End of the Road, Latitude, Great Escape and Wide Awake, and a sold out headline at The Windmill.

OZRIC TENTACLES' ED WYNNE ANNOUNCES NEW ALBUM WITH GRE
VANDERLOO FROM 'GRACEROOMS'.Since 1983, the Ozric Tentacles have
woven psychedelic audio-tapestries that capture the almost dangerous
musical diversity of the free festival scene, blending acid rock with dub,
reggae, ethnic world music & electronic, jazzy experimentation
Ed Wynne, founding member & leader of the outfit, now presents a new project. A
long- term admirer & friend of Gre Vanderloo, better known from his project
'Gracerooms', the two have now teamed up to record 'Tumbling Through The
Floativerse'.
"I've always enjoyed the synth orientated musical worlds he creates with his
project 'Gracerooms'" says Ed of his new collaborator. "Shortly before lockdown
2020, whilst making the early stages of the recent Ozrics album 'Space for the
Earth', we decided to try & make some tunes together. Gre came over from
Holland where he lives, to the Blue Bubble Studio here in Fife & we started
recording pretty much straight away. We ended up with about six definite starting
points, which then developed & unfolded into a harmonic realm we referred to as
'The Floativerse'… A place where you might escape gravity for a moment".
Featuring guest appearances from 'Gracerooms' bassist, Paul Klaessen & longterm Ozrics synth player Silas Neptune, the entire album was recorded at Ozrics
headquarters; Blue Bubble Studios, engineered & produced by Ed Wynne &
mastered by Adam Goodlet. Mind- bending artwork comes courtesy of Valerie
Fangman.

After 5 years of silence and profound changes in the label, the 8th release sees the light these days.
The uncanny producer Etrigramm gives us examples of his underrated talent on this 4 track vinyl.
5 slow dubby techno gems where he explores the darkness and his taste for 90 ́s projects like Download, Richard H. Kirk ́s Trafficante, Lassigue Benthaus and other experiments with an Industrial aftertaste.

If there were clubs in Mordor, this is what they would sound like.

200 copies pressed.

Second full length album from the Hamilton, ON punk/hardcore band fronted by Alexisonfire vocalist George Pettit. - Have shared the stage with Cancer Bats, The Dillinger Escape Plan, Fucked Up and more - Festival plays at Heavy Montreal, Pouzza Fest, Beaus Oktoberfest and more - Received a sync deal for their track ‘Punks at the Gym’ in the Amazon original series ‘The Boys’. They were also filmed and appeared in the episode.