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John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell.

The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bells and Goblin’s Suspiria.“They’re little moments of score from movies made in our imagina- tions,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”

Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

MP3 album download included. Best New Music… 9.2 // ‘Dear Science’ cuts through genres like a laser through a music encyclopaedia, making strange connections, but always with pop clarity as the ultimate aim. — NME // Dear Science reprograms old‐school rock thrills for an ear‐budded nation, using surprising juxtapositions to explode familiar sounds. — Rolling Stone // (Dear Science) boldly took guitars where no album had gone before. And it did so with more creativity, daring and flair than any record since Radiohead's OK Computer. — The Guardian // The band’s third studio album released in 2008, Dear Science, opened with vintage TVOTR, but the nostalgia does not last. With Dear Science, the band continue to push the limit with sonic experiments that fill out the rest of the album. Track Listing: 1 Halfway Home 2 Crying 3 Dancing Choose 4 Stork & Owl 5 Golden Age 6 Family Tree 7 Red Dress 8 Love Dog 9 Shout Me Out 10 DLZ 11 Lover’s Day

Sofia Nøt from the project IAmNøt is a DJ and a producer from Bratislava/Slovakia, who just released her debut album “Changes”.
The album stems from the sounds of electronic dance music of the 90s and describes Sofia’s battle with gender identity. The music video for the track “Changes” won a prize at an international festival in Košice and participated in a prestigious ‘London Music Video Festival. In this video, Sofia kills her “old self” with an axe.

Since 2019 IAmNøt has posted her singles online. Many are also accompanied by story-driven music videos from director Simon Seriš. The music style comprises many genres, including breakbeat, techno, and synth-wave.
In the past three years, Sofia played DJ’s sets filled with breakbeats and 4/4 rhythms across the Czech Republic and Slovakia. You could see her, for example, at the Brutal Assault festival this summer.
Sofia’s debut album “Changes” was released on 9th September and is now available on all major digital platforms and a 12” LP vinyl record.

All tracks were written, produced & recorded by Sofia Nøt

except ‘Estrogen’: written by Sofia Nøt & Pkrek and

‘2020’ contains a guitar by Jakub Spiszak

After his latest ‘Youth EP’ that experimented with spacious vocal chops and whimsical soundscapes, Nocow returns with a relentless flurry of blows on the heavily computerized ‘Magnit EP’ released on npm. Featuring gloriously broken melodies and hard-hitting rhythm, Nocow explores the darker, more formulaic side to his sound. Brooding acid-infused synths shimmer across the four tracks, morphing between moods as the EP progresses. ‘Magnit S’ kicks off the EP with scattered bass hits, driving dark techno arpeggios, and a hint of footwork-esque percussion. The intense atmosphere is a relatively new direction for Nocow, straying from his more meticulous, introverted beats prior. ‘Kali’ incorporates warbled synth with a more subdued rhythm, playing with a modular sound and distant echoes of robotic vocals. This fragmented track is more akin to his 2018 sound of the Voda/Vozduh/Zemlya trilogy as the kinetics of sound play a strongly defined role in the overall sonics. ‘Sputnik’ commences with a blistering arpeggio of bit-crushed synth and chimes. The rocket-propelled pacing creates a frantic, yet ultimately controlled piece, worthy of a place in a club 300 years from now. Yet, after the frenzy comes the calm. The closing track ‘Extasy’ grinds the EP to a kaleidoscopic halt. Vocoder passages drift across the dense soundscape as Nocow transports you to an other-world, filled with spacey percussion. This closer is a well-deserved return to solid ground, following the perpetual trio of dark, yet utterly compelling techno pieces. Once again, Nocow exhibits his multi-faceted approach to electronic music that truly sets him apart.

The 6th release in the 'Foundations' series of classic House curated by DJ Spinna and Kai Alce, Sandee's 1988 masterpiece Notice Me joins seminal tunes from Ralph Rosario, Dreamer G, Cajmere, Chip E & K-Joy and Tyree Cooper to complement this amazing selection of hugely significant and killer heritage tracks. Written by Robert Clivilles and co-produced with David Cole (C+C Music Factory), the pedigree of Notice Me is seriously enhanced by the vocals of Latina singer and original member of the vocal group Exposè, Sandeé (Sandra Casañas) and the sound editing of long time Clivilles & Coles collaborator, the producer and percussionist Luis Rivera. Bass heavy and featuring a drum break that inspired so many great House cuts Notice Me was picked up by DJs of the calibre of Frankie Knuckles and Roman Ricardo on release in 1988. Notice Me became a dancefloor favourite at legendary clubs such as Tunnel and Palladium in New York City and the Riviera in Chicago , subsequently reaching number 9 in the Billboard Dance Charts in 1989. Tragically both Sandeé and David Cole died at far too early ages (46 and 32 respectively) but their places in the pantheon of House music history are assured as the vocalist and the co-producer of Notice Me. Indeed it is an era defining track and definitely a must have in your vinyl collection. A word about the Foundation Series from its curators: Kai:“Well my interest in 7”s is new. I have been a collector of 12”s all my life, House & Disco. Being inspired by JRocc after playing one of Discogs’ Crate Diggers events, my initial focus was on finding House 7”s which proved to be harder than I thought… Most were not available in 7” format & the popular ones that existed were quite rare. So now me and Spinna are trying to fill some of those empty spaces.” Spinna:“45 DJing has become a new excitement among vinyl DJs, but although endlessly repressed on other formats, a few classic house titles have simply never been pressed on 7” vinyl. We ran our ’45 wish list past BBE and the rest is history. When creating the edits we tried to imagine we worked for the original record label and were cutting the ‘radio edit’. The aim: to keep the heart of the track intact while reducing the length to fit the format.”

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

Fangst never announced their arrival – without a warning they were just there, and so was the demand for their music. The band’s hook-laden songs were quickly embraced by audience and press alike. Suddenly there was a new challenger to the throne of Norwegian “mother tongue rock”. Fangst appeared with a bang – releasing four singles in quick succession in 2021. Seeing the band live, it’s easy to be seduced by the four band members and their magnetic stage presence. Now they’re ready with their debut album on Jansen Records. But this is hardly a musical debut for the guys who make up this four-headed beast. All members of Fangst come with heaps of musical experience, and the bare mention of their other bands – Death By Unga Bunga, Honningbarna and Hvitmalt Gjerde – will awake fond memories in every concert goer who’s ever encountered those bands. Fangst’s debut full-length will be out in the fall of 2022, and if captivating Norwegian lyricism or very, ehm…rocking rock (or even both!) is your bag, then you’ll get your fill here. The band’ sound is a result of their diverse musical backgrounds and combines to create beautiful rock music – sporadically dangerous and at times plain cute.

Unholy Black Metal from the Holy Land, drenched in Middle-Eastern tones and mystique! An invocation of thousands of years of Darkness! Hailing from the urban Israeli settlement called Ma’ale Adummim in Israel, Arallu is a five-piece Black/Death Metal act that has been around the metal underground for twenty-five years. The band got the name Arallu from the Mesopotamian mythology, as it is the name of the underworld kingdom ruled by the goddess Ereshkigal and the god Nergal, where the dead are judged. Arallu’s music revolves around the traditional ancient Middle Eastern melodies of fellow countrymen Melechesh, the high speed savagery of bands like Angelcorpse and Absu, and the atmospheric feel of legendary acts like before mentioned Melechesh and Absu. In 2019 the band had released the record called “En Olam”, and that opus has solidified Arralu’s already known talent to the underground extreme metal community. “Death Covenant” is the band’s seventh full-length studio offering and the album offers the listeners a very stunning infusion of occult Black Metal music with the ancient Sumerian and Middle Eastern sound. The riffs found in here will satisfy the listeners with its frenzy of melodic tremolo picked riffs that is intertwined with some eerie folk instrumentation. The elements in the guitar department, thrown in with a few folk instruments such as a saz and a darbuka, reveals how the band had successfully stripped metal down to its core and added a personal touch of their own special flair. them and it provides that extra punch and low-end heaviness to the overall outcome of Arallu’s music. It basically lies steadily beneath the guitars as it backs them up with some thick lines that give a more deep feel to the strings and dispenses an ominous atmosphere to the tracks. The drum section also catches the audience’s attention with a variety of destructive pummeling double bass blasting to some Middle Eastern tribal drumming that helps a lot in terms of keeping the atmosphere intact. The record is filled with high-pitched piercing shrieks and screams which create a dark and raw soundscape. These vicious shrieks are sometimes jacked up with some uncanny backing vocals that tie together the brutality of extreme death and Black Metal music to the ancient Middle Eastern scales of the material. “Death Covenant” also parades the band’s strongest production to date in their twenty-five years of existence. Arallu had created a menacing and atmospheric beast in this style of metal with their release of “Death Covenant”. These Israelis had put out a savage album that is hardly comparable to its predecessors.

In 2016 lutenist Sofie Vanden Eynde put her instrument aside for nine
months in order to recover from a severe burnout
Five years later, she felt the need to look back. Would it be possible, she
wondered, to use the intense, shared concentration between musician and
listener to convey sensations of over- stimulation, contrast, excess, stagnation,
emptiness, beauty and movement? Would it be possible to articulate the inner
reality of a burnout musically: to make a burnout audible, tangible,
understandable and, who knows, avoidable? The result is Vanishing Point /
Verdwijntijd, an autobiographical recital, a musical narrative, a journey:
somewhere between fragile comfort and cautious happiness. Writer Annemarie
Peeters drew on her interviews with Sofie to write a text that reflects the three
phases of a burnout. The run- up, the phase of total stagnation during, and the
cautious way out. Three colours, three seasons, three ways of being. Lurking
beneath Sofie's personal story are experiences that many will recognize: the
craving for efficiency, the sudden faltering, the unfamiliar and at the same time
disconcerting sense of emptiness, and the tentative search for a new balance.
But also the questions Sofie asked herself – about the connection between her
own little story and the big world that surrounds her – evoke wide recognition. Is
burnout a personal failure or a social symptom?
Sofie went in search of pieces from the solo lute repertoire that she intuitively
associated with the various phases of the text. This resulted in a recital with a
surprising palette of colours, styles and atmospheres. At times she chose the
rich, powerful sound of the theorbo. At others she chose the fragile, hushed
sound of the Renaissance lute. The Prelude by the French baroque composer
Robert de Visee combines phrases full of grandeur with breathing pauses filled
with intimate doubt. The music of John Dowland draws on the typically English
penchant for melancholy. In the fantasias and ricercars of Francesco da Milano, it
is not only the bright colours of the Italian Renaissance that resound, but also the
constant search for a new beginning. Luis de Narvaez's Cancion del emperador is
an arrangement for lute of the famous chanson Mille Regretz by Josquin Desprez,
a song that emanates serene regret for everything that is not. And in Robert de
Visee's Chaconne the same chord sequence revolves around its own axis. Hope,
tenderness, revolt and acceptance each step to the fore in turn.
At Sofie's request, Vladimir Gorlinsky created a new composition, one which
reflects the state of mind in the middle of a burnout. Vanishing Point balances on
the edge of total emptiness, a stagnation that at times is hard to bear. Vanishing
Point starts out from this stagnation to explore the different facets of burnout:
resistance and acceptance, fear and hope, stagnation and movement, absolute
solitude and the desire to interact again with the surrounding world. Vanishing
Point / Verdwijntijd can be listened to in different ways: not only as a lute recital,
but also as a radio play with voice, lute and soundscapes. Annemarie Peeters'
text was recorded by actress Katelijne Damen (NL) and voice artist Caroline
Daish (EN). Vladimir Gorlinsky created soundscapes based on the sounds of the
lute, which were magnified as if under a microscope. The soundscapes weave
themselves between the text and the lute music. Jo Thielemans created the
sound design and provided the live electronics.

TIME TO ENTER THE DUNGEON! DJ DOOM is returning for a slip-slapping record full of bass-heavy dance floor fillers on Goddess Music. A side features a 13 minute adventure through techno, hardcore, electro and contemporary club while the B side provides pure club material in the form of breakbeat, house, donk and acid electro. What's your excuse? Throw that C64 the f*ck on and bzzz... bzzzzz... Buzz up!!!

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

Introducing Jaisiel; The Canary Islands’ answer to Bacalao. After years modestly honing his craft in Madrid and Tenerife and re-appropriating forgotten dollar bin gems for his label Ears On Earth, Jaisiel has found a home on Antinote with his shimmering ‘On the Universe’ EP. Tinged with a late 80s sound are 3 tracks of convertible top down, shirts unbuttoned, neon glow dance music.

Opening the Maxi 12” is the ecstatic ‘Talk To Nature’ replete with chirps, coos and woofs. Its catchy melody a subtle nod to ATB’s seminal anthem 9PM (Till I Come) which was once quoted as sublimating sexuality with its “purring titillation”. There is an equally evocative fluidity to ‘Talk To Nature’ found in Jaisiel’s use of pitch bent guitar, climaxing snare rolls and pounding kick drum. However it’s all very lighthearted when compared to ‘Embrace The Unknown’ a driving and mystical track filled with vocoder commands, tinny drones and synth stabs whose accompanying pointed bass line makes this the perfect song for peak time transitions. Raving into the sunrise on the Carretera El Saler is ‘On The Universe’ a contemplative and melancholic closer. Still vibrating with residual dance NRG, the central vocoder breakdown beckons you to reach for trance, to consider The Universe, as it were.

What ties together this On The Universe EP is Jaisiel’s penchant to upcycle 80s and 90s trance dance sounds in a clear and fresh flavour, distinctly Spanish, while simultaneously using just-enough-cheese catch phrases without being too cliché or pastiche. Talk To Nature, Embrace The Unknown, On The Universe…

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

To celebrate the 30th anniversary of ActRaiser, we have remastered the full original soundtrack composed by Yûzô Koshiro, and completed this divine tribute with the Symphonic Suite performed by New Japan BGM Philharmonic Orchestra at Ancient Festival in 2018! An unique chance to rediscover this intemporal classic with this new orchestral arrangement!

ActRaiser's original soundtrack was a true revolution at the time. Yûzô Koshiro's showed a technical prowess using the hardware's full ressources to create a majestuous score that inspired many composers.

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Tape

Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, No Drama, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say. When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it.

Both lyrically and sonically, No Drama is a departure for Hans Pucket from their 2018 debut Eczema. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We're still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”

Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, No Drama is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.”

No Drama came together over several years and during its creation, the band added multi-instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals.

Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self's influences,” says Oliver Devlin.” We really wanted to make an album that teenage us would just be amazed by.”

The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.

Multiple-GRAMMY® Award-winning singer/songwriter Rob Thomas has released his debut holiday album, something about christmas time – available now via Atlantic Records. The 10-track collection, produced by Gregg Wattenberg, features a mix of new originals, classic covers and show-stopping duets with Ingrid Michaelson, BeBe Winans, Brad Paisley & Abby Anderson. The album is led by new single “small town christmas,” arriving alongside a touchingmemory-filled music video companion directed by David “Doc” Abbott.
Thomas also gives his long-beloved “A New York Christmas” a 2021 update for the project, nearly 20 years after the single’s original release. The reimagined version will be featured in the all new Hallmark Channel movie “A Royal Queens Christmas” – airing as part of their Countdown to Christmas programming with all new holiday movies airing every Friday, Saturday & Sunday at 8/7c. something about christmas time marks Thomas’ fifth solo album release, his latest following 2019’s Chip Tooth Smile. He most recently reunited with Santana for collaborative single “Move” (the first since their explosive #1 smash “Smooth”) & will hit the road once again in May 2022 with Matchbox Twenty.
ABOUT ROB THOMAS:
Rob Thomas is one of the most distinctive artists of this or any other era – a gifted vocalist, spellbinding performer, and acclaimed songwriter known worldwide as lead singer and primary composer with Matchbox Twenty as well as for his multi-platinum certified solo work and chart-topping collaborations with other artists. Among his countless hits are solo classics like “Lonely No More,” “Little Wonders,” “This Is How A Heart Breaks,” and “Streetcorner Symphony,” Matchbox Twenty favorites including “Push,” “3AM,” “If You’re Gone,” “Bent” and “How Far We’ve Come,” and of course the Billboard number 2 song of all time “Smooth,” his 3x RIAA platinum certified and 3x GRAMMY Award winning worldwide hit collaboration with Santana. The first artist to be honored with the Songwriters Hall of Fame’s prestigious “Hal David Starlight Award” and recipient of numerous BMI and ASCAP Awards, Thomas has contributed to sales of more than 80 million records.
A charismatic, engaging, and indefatigable live performer, Thomas has spent much of the past two decades on the road, fronting massive world treks with Matchbox Twenty and on his own as well as a series of intimate acoustic shows. Thomas is also a dedicated philanthropist, establishing Sidewalk Angels Foundation with his wife Marisol Thomas in 2003 and having raised millions for no-kill animal shelters and rescues across the US.

GREY VINYL/GREY SLEEVE REPRESS.

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

2 Jahre nach ihrem ersten Album "Toï Toï" (mit Gold ausgezeichnet), einem französischen Grammy Award und einer Reise über viele Bühnen in Europa, ist Suzane mit ihrem zweiten Album zurück. Die Sängerin Océane Colom alias Suzane ist eine der profiliertesten Künstlerinnen der Electro-Szene Frankreichs. hre Songs handeln - wie sie es selbst beschreibt - von wahren Szene-Geschichten. Ihre Musik regt zum Tanzen an, ihre Texte zum Nachdenken an.

After two successful 7’ releases, Eastside Edits is back once again! Continuing their mission to deliver dance floor filling, DJ friendly edits to the 45 community worldwide, Eastside Edits 003 will have every DJ lining up to put copies in their collection!

Side A) LeBaron James brings their magic to a disco boogie classic by the Jones Girls. Keep It Coming was filling dance floors in the 80’s, and this sure shot edit brings a modern groove, pounding drums, and ear grabbing synths. LeBaron James are currently blowing up, releasing music on countless labels and booking DJ gigs worldwide. These guys are at the top of their game and continue to take giant leaps forward in their music careers!

Side B) Baller is no stranger to the 45 community. He co-founded Eastside Edits in 2021 and established himself on Twitch with his personal brand of high energy, open format DJ sets. The 7’ Candi Flip is an upbeat remix of an 80s gem by The Source featuring vocals by Candi Staton. This tune’s energy is sure to make the dance floor move, and its super catchy vocal hook will have the whole crowd singing along!

experiment in markmarking and sound, as a kind of writing by ear - metallic, brushed, wooden - lines imprinted and pressed circular. The record takes its name from the discarded title of the several-hundred-page draft of Clarice Lispector’s eventual 96-page novel Água Viva. Devoid of characters or plot, Água Viva appears always in suspension between the interior and exterior and impression and expression. Weird and formless (like the jellyfish ‘agua viva’ translates to in Portuguese) Lispector’s text deals less in the cerebral or the knowable realms of words and more in the unknowable moment of experience. Its joy is found in its looseness, its meaning found in its lack of definition. Loud Object began as six sides of violin improvisations, four of them abandoned and the last of them added to or processed using samplers in moments Steiger calls ‘wells’ - gaps or dips in the recording which could be filled or poured into. The process of filling up and taking away, of repeating and multiplying, of building tension between the finite and the lost - all wrestle with actualisation. Which line will be drawn? In the liner notes for the LP, Evie Scarlett Ward writes, “The record holds loss.” Though the lines are fixed, its contents are fluid - forty minutes filled in and manipulated, before time moves on. Steiger’s relentless rearranging of convention means no two of his live shows are the same, and his decade-plus involvement in London’s free improvisation scene constantly surprises. Loud Object is no exception. Recorded on the 12th, 13th and 14th February 2021 by Daniel Blumberg. Produced by Billy Steiger. Mixed by Billy Steiger and Shaun Crook. Mastered by Giuseppe Ielasi. Artwork by Billy Steiger. Layout by Oli Barrett. Liner notes by Evie Scarlett Ward.

ASA 808's new album Boy, crush is a very personal inner journey as well as a call to fight and free ourselves from toxic masculinity. In eight tracks that subtly merge electronica, ambient, breakbeat and house, the Berlin-based artist process their own quest for gender identity. Out on vinyl and digital via the TOYS Berlin imprint, the album proposes new, softer and more diverse forms of gender fluidity.

ASA 808 invites listeners to expand their views of the gender spectrum. The title Boy, crush plays with the term "boy crush" and is meant as an encouragement for all men to "collectively crush manhood" with all its toxic traits and consequences:

"Toxic masculinity has kept our grandmothers and mothers small and brought deviant boys into line. It took me a long time to unlearn so much sexism and queerphobia and find my inner queer child again to let it grow, bloom and shine. I dream of a world in which men emasculate themselves. In which masculinity (if we feel it's still needed) will embrace softness, weakness, vulnerability, solidarity, consideration, mindfulness, self-reflectiveness and nonviolence", explains the non-binary producer and DJ who discovered their gender-nonconforming side already at an early age.

After Quiet Places (2020) Andreas Vollenweider has grouped his music
on his new album according to atmosphere and character: Slow Flow is a collection of pieces with a relaxed, flowing feel, while "Dancer" is full of movement and rhythm All 11 songs on "Slow Flow" and "Dancer" were created between 2010 and 2021 in collaboration with British producer Andy Wright (Eurythmics, Simply Red, Jeff Beck, Simple Minds, among many others). The two were supported in their
creative process by Vollenweider's talented circle of friends, who laid the foundation for the songs: Walter Keiser (drums), Andi Pupato (percussion), Daniel Kueffer (bass clarinet), Oliver Keller (guitars) and the young Swiss rapper and beat boxer Steff La Cheffe, a.k.a. Stefanie Peter. The music of "Dancer" also reflects Vollenweider's connection with Africa. The South African vocal harmony band Africapella and singer Ayanda Nhlangothi embody this connection. The London Session Orchestra, consisting of musicians from the Royal Symphonic
Orchestra under the direction of James McWilliam, filled out the sound.
Renowned British producer and arranger Peter Vettese is responsible for most of the orchestration. The recordings took place at Andreas' Lakeside Studios in Switzerland, as well as at SABC Studios in Johannesburg, South Africa, and finally at the legendary Abbey Road Studios in London. Andy Wright's long-time sound engineer Gavin Goldberg has set new sonic standards for Vollenweider's music
with his work, and is able to delight even the most discerning audiophiles with a punchy yet transparent, dynamic soundscape.

Gelb's semi-surreal observations lace things together perfectly.” UNCUT. Filled with loud and lucky abandon; heady steady and direct singalongs for the heart in constant turmoil. Giant Sand’s esoteric journey to ‘Heartbreak Pass’ is an exotic journey through hails of Youngian guitars, off-the-cuff jazz piano rounds and beautiful alt-country yearning. While containing only new songs for this album, this feels like a greatest hits and as such is a perfect entry point for Giant Sand neophytes. Fire Records give ‘Heartbreak Pass’ a long overdue repress on white vinyl, with new liner notes and updated artwork. There’s a roll of the tongue, a couplet and some convolution underpinning Giant Sand’s 2015 opus ‘Heartbreak Pass’. So the story goes, so legend has it, a mere 30 years into their career, almost ten years ago, Giant Sand were regrouped and, for a fleeting second, someone made sense of it all (the words, the genre swapping sound, the roll call of friends and accomplices, the majesty of polar opposites attracting). On ‘Heartbreak Pass’ the result from this lengthy travelogue is a memoir filled with trinkets exchanged along the way. Sure, the Arizona desert is there, gritty and unforgiving but Howe's one-man-band is joined by a throng of well-wishers, this time around including Steve Shelley (Sonic Youth), Grant-Lee Phillips and Ilse DeLange (Common Linnets), The Voices Of Praise Choir, oft-time collaborator John Parish, Grandaddy’s Jason Lytle, Maggie Bjorklund on pedal steel, Italian singer/songwriter Vinicio Capossela and many more. It’s an album that travels far and shows its road weariness in places but it’s a celebration in all its ragged glory. In his original sleevenotes Howe pondered the fact that “The album is roughly broken into three volumes - loud and lucky abandon; heady steady and direct (Gelb's vision of Americana); and the heart in constant turmoil and something about a transponder.” He summarised: “I can't recommend it, nor do I regret it. It's been one life split into two.”


Tracks: A1 Heaventually A2 Texting Feist A3 Hurtin' Habit A4 Transponder A5 Song So Wrong A6 Every Now And Then A7 Man On A String B1 Home Sweat Home B2 Eye Opening B3 Pen To Paper B4 House In Order B5 Gypsy Candle B6 Done

Abandoning doo-wop for hard funk through Funkadelic and related act Parliament, George Clinton became the cosmic funk warrior extolling sex, drugs, and funk ‘n’ roll, using bubbling bass, rock-star guitars, full horn sections and powerful choruses to venture into funk’s deep space. The P-Funk Power cherry-pics some fine live concert moments from Clinton and his P-Funk All Stars, the highlights including a riveting rendition of ‘Let’s Take It To The Stage,’ and super-extended takes of crowd-pleasers ‘Cosmic Slop’ and ‘Atomic Dog,’ culminating in the excessive funk space trip of ‘Funkentelechy (Where’d You Get That Funk From),’ the man and his band on peak form from start to finish. All killer, no filler!

Classic Black vinyl, Lyric insert + DL card. The Black Lips return with their 10th studio effort ‘Apocalypse Love’, scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup de’ tats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers, into a set of Lynchian surrealists, hellbent on recalibrating the history of rock ‘n’ roll. Singer and saxophonist Zumi Rosow muses, “It’s a weird dance record, one that reflects the moment that the world’s in right now…” ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. Stand-out number ‘Among The Dunes’ is an amorphous platform-heeled anthem, a signature sax-fuelled stomper filled with trippy swagger. While opener ‘No Rave’ proffers a hypnotic locked groove, with Cole Alexander’s trademark snarl delivered over a sulphurous wall of distorted hedonism, a dystopian anthem for an apocalyptic manifesto. Meanwhile, the twisted exotica of ‘Whips Of Holly’ with its silver screen façade is like the soundtrack to a classic Theda Bara vamp-fest. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down… “A wonderful new chapter… The world may be on fire, but at least we have Black Lips.” The Line Of Best Fit // “Simply masters in their field” NME // Track List A1 No Rave A2 Love Has Won A3 Stolen Valor A4 Lost Angel A5 Whips of Holly A6 Apocalypse Love A7 Operation Angela. B1 Crying on A Plane B2 Sharing My Cream B3 Among The Dunes B4 Tongue Tied B5 Antiaris Toxicaria B6 The Concubine

LP is on baby blue vinyl in a jacket w/ spot gloss + printed inner sleeve + LP3 album download. On October 21, 2022, Merge Records will release Pigments, the debut collaboration between New Orleans electro-revival dynamo Dawn Richard and multi-instrumentalist, producer, and composer Spencer Zahn. Pigments is a project about the power of self-expression through living art, through motion. It’s also a love letter to New Orleans, Louisiana. Not strictly classical, jazz or ambient electronica but rather a body of “movements,” Pigments is an expressive soundscape that is an immersive passage through the city as seen through the eyes of a young Black girl with dreams to paint her future with the pigments given to her. Richard explains: “Spencer wanted to create one long piece of music that would ebb and flow around my lyrics and emotions, which tell a story of growing to love my own skin. I wanted my voice to be moss surrounding the roots of Spencer’s compositions, never forcing the moment to fill every space but rather reveling in the openness of thought and breath.” Zahn agrees, saying, “I wanted to work with all these different textures, tones, and colors to have a new sound to frame Dawn’s voice and lyrics. To hear a lone clarinet as the breath fades and a cello continues its melody to cue Dawn’s vocal entrance is unlike any other record she has made. These are things that excite me as a composer but more as a listener. I hope that other listeners feel the same.” Coming on the heels of Dawn Richard’s critically acclaimed Merge debut Second Line, Pigments will introduce listeners to a different facet of Richard’s outrageous talent and bring Zahn’s thoughtful creativity to a new audience

Released on gold vinyl, ‘The Coincidentalist’ and ‘Dust Bowl’ are two discs of Howe Gelb filled with randomness and happenstance, a typical treasure trove spanning all genres from alt country to Cohen-esque grandeur. They traverse, unflinchingly, his chameleon-like repertoire. This deluxe re-issue includes ‘Dust Bowl’ on vinyl for the very first time, with the records housed in a gatefold sleeve featuring updated artwork and liner notes. ‘The Coincidentalist’, originally released in 2013, features a raft of friends and collaborators including Bonnie Prince Billy, Andrew Bird, M. Ward, Steve Shelley, and Jason Lytle of Grandaddy with John Parrish on mixing duties. Ever the focal point of Giant Sand and Gelb releases, the Arizona Desert serves as a key inspiration for the record, animating the barren landscape with stories of those that have navigated them. Praise for the release was not short, with AllMusic proclaiming that it’s “one of Gelb's most realized efforts; despite its relaxed, airy presentation, it's musically and lyrically provocative, as poetic, strange, and mysterious as the desert itself." The accompanying collection ‘Dust Bowl’ is a personal sketchbook of songs, a more stripped back set than it’s counterpart. Featuring everything from the country blues of ‘Porch Banjo’ and ‘John Deere’, to off-kilter piano ballads like ‘The Old Overrated’ and ‘Reality Or Not’ and the deconstructed desert pop on ‘Forever And A Day’ and the fragile ‘Man On A String’. ‘Dust Bowl’ is an insider’s view of Howe’s songwriting craft, a unique insight into the man himself. “‘Dust Bowl’ was primarily for fans that have followed me for a while. ‘The Coincidentalist’ is for the friends of the fans.” Howe told Under The Radar. While Nightlife magazine reported that; “Without warning, the Giant Sand frontman and polymorphous countryman dropped this compilation of house recordings via Bandcamp… At a time when so much harmless, soulless folk resonates, Howe Gelb is a mandatory point of reference for any fan of the genre.”

London 4 piece Crows’ second album, ‘Beware Believers’ conjures a dark and visceral post-punk that’s been hardened by years of notoriously rowdy live shows, Crows have amassed a legion of die-hard fans since they formed back in 2015 and cultivated a singular, much-adored presence in the British alternative music scene. Equal parts ferocious and hedonistic, the incoming ‘Beware Believers’ LP arrived off the back of their critically acclaimed 2019 debut ‘Silver Tongues’, international touring and festival appearances, and shared stages with the likes of IDLES, Wolf Alice, Girl Band, Metz, Slaves and Protomartyr. Following the release of their long-awaited debut album on the IDLES-run Balley Records back in 2019, Crows immediately set to work on its follow-up and by January 2020 they were already back in the studio tracking what would become the ‘Beware Believers’ LP and then Covid hit. “Once we knew Covid was here to stay, we took the first break we’ve taken since we released our first single ‘Pray’ in 2015. Being locked down for three months unable to finish the last bits of the record was very frustrating but it did mean we could come back to the album with fresh ears and make sure it sounded like it should: a true representation of Crows.” Loud, cathartic and abrasive a quintessential Crows record it certainly is. “Beware Believers has felt like a marathon, a real endurance test that’s been a long, winding road filled with highs and lows and plenty of twists and turns”, frontman James Cox says: “The majority of the themes on the album came from what was going on in the world around Summer 2019 when we started writing the album. Covid wasn't in our lives and the biggest impact was Brexit and the madness our government were putting us through. I was reading a lot of J.G. Ballard and Kurt Vonnegut, mad dystopian novels, whilst all this craziness was going on around us and it was a weird headspace to get into.” Tracklist: 1) Closer Still 2) Garden of England 3) Only Time 4) Slowly Separate 5) Moderation 6) Healing 7) Room 156 8) Meanwhile 9) Wild Eyed And Loathsome 10) The Servant 11) Sad Lad

LP colour is Transparent Blue. Stu Spasm (Lubricated Goat) + Russell Simins (Jon Spencer Blues Explosion) + Kate Bjelland (Babes In Toyland). One off garage-sleaze rock masterpiece. Remastered. Crunt began in 1993 as a kind of indie rock supergroup and had their 1994 debut album touted by Pearl Jam's Eddie Vedder. Crunt's members included guitarist/vocalist Stuart Gray (aka Stu Spasm) and bassist/vocalist Kat Bjelland. Gray was well-known in Australia by the start of Crunt for his past involvement in the bands Salamander Jim and the horn/guitar punk rock of Lubricated Goat, which included drummer Martin Bland who went on to play in the Monkeywrench. As for Bjelland, she was the frontwoman/guitarist for the Minnesota-based Babes in Toyland. Crunt was rounded out by drummer Russell Simins, who was the full-time sticksman for New York City's Jon Spencer Blues Explosion. Each of Crunt's members were temporarily residing in Seattle when Gray conjured up the idea of starting a new group. After writing almost a dozen songs, the trio entered Seattle's Ranch studio in February of 1993 with Simins and Gray acting as the producers, and their friend John Dunleavy -- known for his work with the Supersuckers -- filling the role of engineer. A year passed before the group's self-titled album was released on February 15, 1994, on Austin, TX label Trance Syndicate, owned by Butthole Surfers' drummer King Coffey. The record was the imprint's first release from a non-Texas group. The debut of the full-length album coincided with the "Swine"/"Sexy" single on Australia's Insipid label, which was known for releasing singles by other bands such as the Cows, Urge Overkill, and the Jesus Lizard. Prior to the releases, there had been talk that the band was not going to just be a side project, but a full-time band in the same tradition as Babes in Toyland and the Blues Explosion. The trio had even planned a full-scale tour. By January of 1995, however, Crunt came to an end.

Rose For Bohdan return with their 5th full length album in full rock mode (w/ David Gorilla and Kerri Kerang on drums). Beyond high energy anthems filled with blistering electronics, thunderous bass/drum combo, and instantly catchy boy/girl vocal hooks. Inspired by living in Los Angeles, from the ADHD pace to the still unresolved undertones of racial tension to the youth that lights this town up with hope. No Rose For Bohdan album has ever been released on vinyl, so we're here to fix that problem, beginning with the high water mark for the band. Noise poppunk that takes wild twists and turns, bathed in ridiculous energy. This is fun insanity. TRACKLIST: 1. Friends Forever 2. Peter and the Rabbit and the Wolf 3. Thunderstorm Summerschool 4. The Fashion Show 5. I'm 6. The Amazing Bird the Shit in a Bag 7. The Fear 8. Covered In Monkeys

On the eponymously titled final song of her debut album Land of No Junction, Irish songwriter Aoife Nessa Frances (pronounced Ee-fa) sings “Take me to the land of no junction/Before it fades away/Where the roads can never cross/But go their own way.” It is this search that lies at the heart of the album, recalling journeys towards an ever shifting centre - a centre that cannot hold - where maps are constantly being rewritten.

The evocative phrase is the result of a fortuitous misunderstanding. Reminiscing about childhood visits to Wales, Aoife’s musical collaborator and co-producer Cian Nugent, mentioned a train station called Llandudno Junction, which she misheard. “Land of No Junction later became a place in itself. A liminal space - a dark vast landscape to visit in dreams… A place of waiting where I could sit with uncertainty and accept it. Rejecting the distinct and welcoming the uncertain and the unknown.” Reveals Frances.

The songs traverse and inhabit this indeterminate landscape: the beginnings of love, moments of loss, discovery, fragility and strength, all intermingle and interact. Land of No Junction is shot through with a sense of mystery - an ambiguity and disorientation that illuminates with smokey luminescence. Yet, through the haze, everything comes down to what, where and who you are. Frances has built a universe full of intimacy and depth, with lyrics written through a process of free thought writing. It lends the record fluidity, each song in dialogue with the next not only through language, but the way each musical choice complements or threads into another.

Navigated by the richness of Aoife’s voice, along with the layers gently built through her collaborators’ instruments (strings, drums, guitars, keys, percussion), gives a feeling of filling up space into every corner and crack. A remarkable coherent sonic world: buoyant and aqueous, with dark undercurrents. The crossroads as a place where someone can be stuck, static in the face of the future, becomes instead an amorphous realm, where the remnants of the past and what is unknown meld together and come to an understanding. Where nostalgia and newness ebb and flow in equal measure.

Patricia Barber's 6th studio album is a fascinating collection of classic cover songs shaped by her inimitable downtempo intimacy into startlingly affective journeys through the human condition. Working with her band of the time (bassist Michael Arnopol and drummer Adam Cruz, augmented by star turns from guitarist Charlie Hunter, bassist Marc Johnson, and drummer Adam Nussbaum), Barber creates an atmosphere of austere trepidation that allows her long-time engineer Jim Anderson to hang her haunted vocals directly over top. Like all great jazz albums, Nightclub puts the highlighted artist front and center while carving out plenty of space for the supporting players to give emphatic support.

Impex's 1STEP process provides the perfect showcase for Anderson's peerless audio immersions. Nightclub was originally digitally recorded on a Sony 3348 multi-track and mixed through a Neve analog console to both digital and analogue mix-down masters. Bernie Grundman used the analogue mix-down tapes to assemble a new analogue cutting master exclusively for our 1STEP. Coupled with the incredibly detailed VR-900 vinyl formula, there is instrument detailing to spare, a Mariana Trench noise floor, and incredibly-focused low end. There is simply no better way to enjoy Barber's cool renditions of timeless classics than this one (including the exclusive, never-before-released bonus track "Wild Is the Wind"). Limited to 7,500 pressings!

The 1STEP Process:
The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Mastered by Bernie Grundman from the Original Mix-Down Analogue Master Tapes
Pressed on VR-900 Super Vinyl for Incredible Detailing, an Epic Soundstage & Near-Silent Surfaces
Exclusive Ultra-Luxe Impex 1STEP Packaging
Deluxe 12-Page Booklet within a Three-Sleeve Monster Pack Jacket
Colour-Matched Slip Case
Never-Before-Released Studio Session Track "Wild Is the Wind"

Asylums have been quietly building an impressive back catalogue of albums since the release of their debut ‘Killer Brain Waves’ in 2016. With three full studio albums and a stand-alone single behind them, Asylums are back on October 14th with their fourth album ‘Signs Of Life’ - their first since the release of 2020’s Steve Albini recorded 3rd album ‘Genetic Cabaret’.

Recorded at the legendary Rockfield Studios with genre-bending ‘Manic Street Preachers’ producer Dave Eringa in the driving seat, ‘Signs Of Life’ is a record that evolves the Asylums' sound once again while still staying true to their musical and lyrical DNA.


Asylums ‘Signs Of Life’ draws inspiration from a spectrum of human emotions and examines how they intersected with technology during the accelerated change of the last few years. As well as dialling their manic rock sound up to 10 this record also draws from the likes of R.E.M., The Magnetic Fields and The Beatles who all arguably made some of their best work during a live hiatus.

Vinyl reissue of the absolutely brilliant fourth full length album from the pop-punk / melodic hardcore legends Four Year Strong.

This album is now getting pressed onto vinyl for the first since it's original release in 2010, as the band's first major-label released studio album. Album features the huge singles 'It Must Really Suck To Be In Four Year Strong Right Now' and 'Wasting Time (Eternal Summer)', amongst an album filled with fan-favourites.