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Heated Garage is a sonic snapshot of what happened when boundless musical energy and middle American moxie combined to create a cultural phenomenon. The tracks are drawn from a vast archive of Kay Bank master tapes - some are ultra rarities you’d be hard pressed to snatch from the collectors’ market without mortgaging a kidney. Others are alternate versions and outtakes never before released in any form! “The joke was, some bands didn’t become garage bands because it was too damn cold...you can’t go outside when it’s 25 below zero. So, a lot of people are honing their craft in their basements.” High Spirits guitarist Owen Husney explains. Knowing more about them is not only unnecessary, it would mar their mystique. They exist forever in a moment of raw rock ‘n’ roll glory that transcends time, a space shared by their Heated Garage brethren. Looking back on The Pagans’ songs, for example, Kip Sullivan says, “They feel sacred to me.” Recollecting his High Spirits adventures, Owen Husney sighs, “I would go back to those heydays in a minute.” Now he can. And we can all come along.

"Cerulean Blue vinyl limited to 700 units! On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing. Cerulean Salt follows American Weekend -- a collection of minimal acoustic-guitar pop written and recorded in a week at her family’s Birmingham home. On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostalgic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. Whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production.

At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”.

There’s plenty of American Weekend‘s introspection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret — over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date."

Ace Records has been the go-to source of 1960s US girl group compilations since the release of our “Where The Girls Are”, “Girls About Town” and “Stop, Look & Listen” vinyl albums back in the 1980s. The 10-volume “Where The Girls Are” CD series followed over the next few decades, along with a batch of standalone CD collections. These days, however, the vinyl long-player is back in favour as the format of choice for discerning collectors.

Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

In what feels almost like an annual autumn tradition now, we’re mighty excited to announce the next release on our label, “Candor“ by Hett.

Working with friends has an especially rewarding quality which is why we’re particularly happy for Hett to join the AWK label family. Having known about his excellent production skills for a while, we were quite eager to unearth this hidden gem. It took a moment to put together but everyone’s patience paid off and we can proudly present you this beautiful 5 track record.

The Wearside raised and Berlin based artist provides the perfect formula for a club ready yet emotively aware package, making it hard to believe that this is only his debut EP. A work of music that embodies the refreshing candor of a forward thinking attitude whilst also giving a respectful nod to the past.

AWK 006, “Candor“ by Hett will be out on October 24th 2024. We hope you enjoy it as much as we do!

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Motherland is an electrified open letter to our dying planet. Having released a past solo EP in 2019, Motherland remains Lia"s first full-length offering. A longform listen of both heartbreak and help and healing. Seeing debilitation in its many forms and making art amidst the continued struggle. Her heavy lyrical content swirls through synth flutters and hard-hitting drums, making for a captivating contrast. Dystopian and dreamy. Ambient layers and atmospheric backdrops with piano ballads, downtempo electronica, and drum and bass. The influences of James Blake and Frou Frou ooze through these tracks. Think Låpsley, FKA Twigs, Kllo, Caroline Polachek.

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

A hard rock mash up - Bandleader Paul Ngozi's split album with his drummer and co-vocalist Chrissy Zebby Tembo. The set includes an oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations.

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” - New York Times

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock - in the mid-to late-70s. From that era, Zamrockís energy is matched only by the punk and hip hop scenes of England and America.

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
"

Peter Evans makes his We Jazz Records debut with Extra, a new album out 25th October. The band formation includes Evans on trumpet, Petter Eldh (Koma Saxo / Post Koma) on bass and Jim Black on drums. Peter Evans, an acclaimed trumpet player, improvisor, and composer based in New York City presents a gutsy new band that gets right to work with his eight new compositions.

The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disability within the social-artistic non-profit organisation Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. We often think of compadre Arno, from the TC Matic era. During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends - Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche and Julien ZLDR - who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director. It's a result of the conditions under which it was created, this is the band's most highly-produced album, and perhaps its most accessible: frankly rock, with a great deal of freedom in production, and sometimes with a certain pop allure. Jean Lamoot's contribution to the mix had a lot to do with it. In addition, the forced slowdown allowed us to devote much more time and attention to writing the lyrics. Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me... We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this crisis, deprived of their free will. We send them our thoughts, hugs and kisses full of true love! The songs respond to a deep desire to look out for each other in adversity (the so obvious "Comment ça va?" by Johan Geenens and Wim Opbrouck, or "Waarom ben je boos" by Sébastien Faidherbe with Wim Decoene, the latter full of empathy). A sense of loneliness is logically present on the album ("Dat is mijn verdriet" by Linh Pham, a very real, very concrete and particularly touching poem, or "Loneliness", whose text was improvised by Wim), if not an understandable rage ("Je ne veux pas" and "My Frustrations"). It worth noting that on "On reste heureux", Sébastien Faidherbe composed all the parts in one go, with an optimism that stands out from the anger expressed in his other songs. Let's make no mistake: none of this is really over. All these emotions, suffering, pain and hope, speak to us far beyond this grim story of covid.

"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"

Most bands after nearly 20 years of classic albums, touring , line-up changes and a definitive legacy might be forgiven for putting their feet up and kicking back for a while, but then most bands aren’t the juggernaut that is Motörhead. We Take No Prisoners takes in a collection of singles and promos from the period of 1996-2005, during which the band, now a taut powerful trio, continued on their relentless journey with even more of the same quality, ear-shredding riotous rock ‘n’ roll than ever before. This Box Set containing nine 7” records, brings together some of the classic singles from the era alongside rare and live material including a lost interview with Lemmy and Mikkey Dee. There is also a CD version that features all this alongside tracks exclusive to that format. Descriptions: - 7" Singles Box Set containing nine 7” singles (on black – eight 7” contain two tracks on each and one 7” interview with Lemmy/Mikkey Dee). - Standard digisleeve with 2CD with 20pp Booklet. Features several tracks exclusive to the CD edition only.

"ABBA release “The Singles – The First Fifty Years”, a 38-track compilation album expanded from “The Singles – The First Ten Years” originally released in 1982.
The album features ABBA’s top tracks plus additional songs not available on other compilations, including singles from the band’s latest studio album “Voyage”.
2CD format is packaged as a hardcover media book with a 28-page illustrated booklet including liner notes and unseen band images."

This Autumn sees the release of Gavin Friday’s much-awaited new album, Ecce Homo, his first in over thirteen years, and via BMG. It is a work that heralds a fuller, more sonorous, form of expression for this ever-evolving artist, one that transcends the prescribed conventions of genre, breaks new ground and brooks no compromise. Where loss, filial grief, remorse and existential disquiet were the more conspicuous tenets of Friday’s 2011 release, catholic, the presiding spirit of Ecce Homo is altogether freer, less shackled, and sovereign — indomitable, too. Self-tyranny and its capitulations have here been sublimated into strength and enduring triumph. The credo is that of a man beheld, yes, but never beholden. Recorded in Dublin and London, Ecce Homo is produced by Dave Ball (of Soft Cell), Michael Heffernan and Riccardo Mulhall. Featuring the singles ‘Ecce Homo’ and ‘The Church of Love’, the album will be available as a Limited Edition 1LP Transparent Blue, 1CD & Digital.

The new release continues to expand on Sorey’s ongoing partnership with Diehl, now their fourth album together. The trio presents the McCoy Tyner classic “Peresina” from his album Expansions; “A Chair in the Sky” from the Joni Mitchell album Mingus; “Bealtine” from Brad Mehldau; and “Your Good Lies,” a contemporary soul song from the group Vividry. Predictably, Sorey completely deconstructs these compositions, extracting and shuffling sections of the original recordings while arranging them into elaborate forms that morph constantly and unpredictably. The program is played without breaks, magnifying its focused intensity while creating a prodigious sense of scale more akin to a tone poem than a piano trio performance. It’s yet another manifestation of Sorey’s profound musical wizardry. Vinyl.

Pia Isa is the solo project of bassist, guitarist and vocalist Pia Isaksen from Norwegian heavy psych/doom rock-band Superlynx. As much as she loves playing with Superlynx (already formed in 2013) and other people, Pia’s ideas for her solo-albums seemed more right to work through on her own mostly. Pia´s music is rooted in slow heavy drones, but also has a lighter, dreamy and hopeful side. She is inspired by massive soundscapes, heavy psych, meditative moods, desert vibes and Eastern scales as well as her Nordic coastal surroundings. Superlynx-listeners may recognize her slow, heavy and minimalistic riffs, and haunting sometimes chanting voice. Pia has an open mind to a lot of different music. Not caring about fitting to any genres but channeling honest and heartfelt music in her own way. The lyrics are deeply personal and stretches from the very inner self and throughout nature. On her new album Pia has worked more with layers of vocal harmonies and has given an old dark sounding nylon acoustic guitar more space in her massive distorted soundscape.

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

For fans of Michael Kiwunaka, Jon Batiste, Leon Bridges, Gregory Porter, and Mg.Kee. Full tour in the works for 2025 in North America and Europe. Collaborated with a wide range of artists including Jack White, Dwele, Slum Village, Black Milk, Foreign Exchange, 14KT, and Daru Jones. Former musical director for tours for Black Milk and Slum Village, throughout North America, Europe, Australia, and Japan. “From the Throne Room” is Abernathy’s fourth official LP, following the trilogy of “Monologue,” “Dialogue,” and “Epilogue,” released between 2016 and 2019. Aaron Abernathy has been firmly established in the modern soul scene for almost two decades, and he continues to elevate his craft as a songwriter and performer. His latest LP “From the Throne Room” once again demonstrates a rare ability to seamlessly shift between lyrical themes and musical styles, and it is his most inspired and uplifting album to date.
The turmoil caused by the pandemic was especially hard on touring musicians, and as a veteran musical director and bandleader who has regularly traversed the globe, Abernathy was certainly affected. Instead of wallowing in grief and darkness, he tapped into his gifts as a songwriter and lyricist to manifest light and optimism in his own life. As expressed on the opening track “New Relationship,” this “new way of seeing” kicked open some new creative doors for him as a musician and producer, with a wide variety of influences. The four-to-the-floor push of “A Reason to Smile” brings to mind 80’s post-disco boogie, “Show Off” shows off a modern rock edge, and the booming, driving energy in tunes like “Hope Song” and “Joy” is reminiscent of the electric 60’s soul of Wilson Pickett and Otis Redding. With its catchy hooks, powerful lead vocals, and slick self-produced arrangements, “From the Throne Room” proves that Aaron Abernathy remains one of the most talented singer/songwriters of his generation in contemporary soul music.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

Based in a small town near Modena (Italy), Browbeat formed in early 1998 from the ashes of local Hardcore and Metal bands with the intention to create the most intense music possible joining angst, heaviness and aggressive vocals.

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

“Friends, they are my ticket out of this place I am in… feels like nothing more than a dirt bike vacation stop between Phoenix and San Diego.” Dirt Bike Vacation—for Worried Songs Records—explores the sonic world of the late amateur guitar player, Charles ‘Poppy Bob’ Walker, through a captivating set of instrumental songs made in the mid-1980s. Recorded on a single-track, Marantz field recorder, the project is a transportive document of Walker’s days spent as a meatpacking employee in Yuma, Arizona and the dailiness of that existence: driving to work, sitting in his backyard, walking around drunkenly, unwinding on the couch with a friend. These sketches, showing an experimental tendency, are surprisingly ahead of their time; some exhibit ad hoc tape delay (“Granite Bluffs,” “Goodbye YMCA”), while others make use of primitive overdubbing (“Continuation to Moon Doctor”). Not dissimilar to works such as Bruce Langhorne’s The Hired Hand soundtrack, Walker’s guitar playing is melodic, texturally rich and beautifully sober. On a musical tour from Nashville to Los Angeles, musician-archivist, Cameron Knowler, uncovered these songs from a series of dusty cassette tapes housed at a branch of the Yuma County Library. Originally tipped off by cryptic metadata entries found through an online finding aid, Knowler requested a sound sample and was immediately drawn in by their eerie, yet hopeful nature: “I didn’t care what they sounded like at first, but once I heard just a few seconds, I had to find out everything I could about Charles, who he was, and if he was still alive.” As it turns out, the two had miraculously crossed paths over 20 years prior when Cameron was a young boy accompanying his mother, a gem trader, on a biyearly sojourn to Quartzsite, a town 80 miles north of Yuma: “Charles, sitting down and smoking in a recliner, withdrawn, held what I now understand to be a mid-1990s Martin D-28 guitar. Unlike other old-timers, his instrument was sharply tuned and had a nice sound, even to my young and uncalibrated ears. Though his left hand showed signs of highly developed arthritis, his musical ideas were animated by a palpably deep understanding of fretboard anatomy, arrangement and harmony.” Sorting through the index cards associated with these tapes, Knowler was able to gain a detailed sense of most recording’s provenance, whereabouts and time: Walker’s Datsun pickup truck chugging along boiling hot Interstate 80, the Marine Corps Air Station parking lot, the Eastern Wetlands on the banks of the Colorado River, a fishing trip to Martinez Lake. Trying to reduce the amount of his own subjectivities coloring the work, Cameron constructed titles and track sequences by borrowing information gleaned from Charles’ handwritten notes: “I tried to organize everything by time of day, giving the listener the sense of how a Yuma day might sound and feel like, and each song title—even the record itself—is borrowed from his own words.” This proved no small task, as many notecards had to be deciphered and then coupled with their native tapes which needed extensive restoration treatments. The result is a project very much out of the blue, and one that is intensely personal to Knowler, having grown up in the same town under similar circumstances. “It feels like a part of my own journey as a guitarist reckoning with the defining marks of a gothic border town,” he remarks. “At the time I would’ve met Walker, I didn’t have much outside influence, but he has been in there all the while.” In their current form, the tracks combine to create a sonic journey that boldly contributes to the traditions of acoustic guitar soli, archival digs and field recordings all the same; most importantly, it is a creative document which shows a day-in-the-life of a man grappling with the human experience under a ubiquitous Yuma sun.

Flame is Slow collects together three acclaimed seven-inch EPs (originally released on the Noisebox label in 1996 and 1997) by the mysterious, mercurial Navigator. The post-Loveless UK underground of the early 1990s was a vibrant place, despite what music biographies may tell you. What might now be lumped together as “post-rock” was in fact a varied and forward-thinking group of artists creating inquisitive music in the wake of the grunge goldrush. Contemporaries such as Hood, Flying Saucer Attack, Movietone and – of course – Mogwai and Arab Strap are rightfully seen as timeless nearly thirty years on but they’re really just the tip of the iceberg. Navigator might get mentioned less but their story is every bit as intriguing as any of their peers. Navigator formed in Norwich in 1994. Their music was consistently introspective and melancholic, but their brief existence of five years saw them move rapidly from traditional song structures towards noise, found sound, free improvisation, electronics, primitive instrument building and – ultimately - silence. They were an enigma back then and they remain so now. They released four seven inches before a solitary album Nostalgie (1997, Swarf Finger Records). Each release felt different to the last but always intimate and peculiar. Their use of sound and space is nothing short of magical. Rough and unsettling textures rub against each other, selected and mixed instinctively. Another band’s discarded mistake becomes a key element in their hands. The band received much acclaim and some genuine commercial success when single When the Wires Fall ended up in the indie charts. They shared stages with Low, David Thomas, Aerial M, Stars Of The Lid and Labradford and toured with Mogwai and Arab Strap culminating in the now-notorious, equipment-levelling performance at The Garage in London. The original version of the group played live for the last time in 1999 before quietly disappearing. It was perhaps inevitable that a band so committed to exploring and refining their sound should end by removing themselves from it entirely. Aside from a brief (and excellent) reformation in 2006 and a CDR compilation of those early seven inches, Navigator have been quiet for over 20 years until now. Flame is Slow assembles the blue, red and green Noisebox EPs into one cohesive album-length collection, remastered with care and reassembled by the band. It rightfully places Navigator where they belong – as one of the most curious, adventurous, and beautiful groups this island has ever produced. “Whenever I think of bands that more people should’ve heard than did, I always think about Navigator. It’s great that the music they made is going to be available again as it is truly special and deserves to be heard by more people” – Stuart Braithwaite

Emerging from the same circle of musicians that spawned Squirrel Bait and Slint, Rodan formed in 1992 out of a failed high school rap project. Guitarists Jason Noble and Jeff Mueller enlisted Tara Jane O’Neil on bass and a couple drummers before Kevin Coultas came aboard permanently. After a couple 7”s and self-released cassettes, Quarterstick Records released the band’s first and only full-length Rusty in 1994. The band broke up at the end of the year, aiding their growing cult following. Jason went on to form Rachel's, Jeff started June of 44, and Tara began a solo career after recording with Retsin, and The Sonora Pine. Jason and Jeff later reunited in The Shipping News. Rodan was Quarterstick’s indie rock super group that spawned numerous other intriguing projects. “(Thirty years ago) a Louisville band called Rodan released the only record they’d make in their two year tenure. Rusty would become one of those records that launched a thousand very f**king good bands in the 90’s, an historical moment in real need of poets and punks and beautiful freaks who could render some sense and beauty out of the cultural grey water”. Joe Manning // “Whatever scene or geographical associations Rodan dealt with by being from Louisville, KY, in the early '90s, setting those aside and looking at the music straight up reveals one key fact: this was an amazing band, one with clear roots but also one with a sense of its own strong fusion… this is an album to readily get lost in”.

‘I Got What You Need’ is the statement from a troubadour coming into town to inform and entertain the people. Bearing songs of soul searching, of spiritual uplift, of tunes to groove to. Equipped with a powerful voice and stinging guitar the troubadour lays down his marker and backs up the statement. Two Times UK Blues Award winner Mississippi MacDonald has it all to play that troubadour as he presents his third album on APM Records. The gravelly Gospel tones on If I Could Only Hear My Mother Pray Again, and the imploring emotion on Your Dreams have MacDonald stretching out vocally. The former song in turn also showcasing another tour de force from regular backing vocalist Lucy Randall. Two self-penned instrumentals pay tribute; 3.35AM, to one of MacDonald’s prime influences Freddie King, and Soul City One to the in-house studio sound of Stax / MacDonald continues to be an excellent interpreter of southern soul and two more songs from the stable of Memphis studio and publishing house Ecko in Hard Luck and Trouble and the title track prove this. So too the band’s take on the R&B classic We’re Gonna Make It which in MacDonald’s hands really swings. Sinking is an epic ballad in which to lose yourself completely. The album is rich in variety, vibe and soulful energy. It’s MacDonald’s Blues and a whole lot more. MacDonald is a guest artist with the ‘Take Me To The River All Stars’, performing on stage at Red Rooster, filmed in session with Eric Gales and Jools Holland, and is filmed again at Royal Studios in Memphis on October 1st. MacDonald and band will perform at the UK Blues Challenge on October 8th, MacDonald is special guest of Visit Mississippi in Liverpool on October 18th when they unveil the first ever Blues Trail marker outside The Cavern. MacDonald will perform with Clarksdale veteran Super Chikan. International PR agent Blind Raccoon has been engaged to promote the new album. Last album ‘Heavy State Loving Blues’ was no. 1 on Roots Music Radio Contemporary Blues, no.1 on the IBBA chart for albums of the year 2023, and top 50 on the US Apple iTunes Blues chart, plus plays and a session on BBC Radio 2 Blues Show (Cerys Mathews). Live shows running up to end of March 2025. A singer/ songwriter from London who speaks quietly but makes music with real gravitas. A rising star since winning Traditional Blues Artist Of The Year and Acoustic Act of the Year at the 2024 UK Blues Awards. MacDonald has released two previous albums on APM Records. ‘Heavy State Loving Blues’ in 2023, and ‘Do Right Say Right’ in 2021- selected as a top 10 Blues album of the year in MOJO.

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.

With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.

Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.

Long-time electro stalwart Carl Finlow is the man behind the Random Factor alias. He started it back in 1994 and it has given rise to four full lengths on 20/20 Vision, which is where he now returns with his first new long player in 15 years. Silencer is a superb return to form with a mix of electro-pop that is laden with indelible melodies, granular vocoders, angelic vocals and the occasion back room, heads down electro banger. As always these cuts are second to none with bumping electro-funkers like 'Adulterant' and celestial trips like 'Lab Grown' perfect for back rooms.

Jovonn's Body'N Deep label continues its fine form with the not to be missed BND Project Volume 5. The 5th in the series features heavy hitters such as DJ Spinna, Atjazz, Demuir and Dirty Harry. Buy on sight!

GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."

Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and ACID voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater.
AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music.
AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.

Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.

東京のクラブサウンドをレペゼンしてきたMonkey Timersと岡山の奇才プロデューサーKeita SanoによるプロダクションユニットGǼGが〈Sound of Vast〉より満を持して放つ超重量級オルタナティブ・レフトフィールド・ストンパー！

パワフルで不穏なベースライン上にRon Hardyのオープンリール音源シリーズJackmaster Haterから割愛した”Acid! Acid! Acid!” ヴォイスリフレインを刻み、鋭利なシンセスタブとダークなパッドでビルドアップしたヒプノティックなナンバーA1. Jackを皮切りに、80年代ドイツジャズロックシーンの伝説的ドラマーCurt Cressのドラミングをダンスミュージックの文脈で再解釈したオブスキュアなパーカッション・トラックAA1. Yamato、そしてThe S.O.S. Bandの82年作”High Hopes”のファンキーなベースラインに轟音フィードバックやカッティングギター、スペーシーなシンセサウンドで現代的なコズミックディスコへと昇華したAA2. Central。

ディスコ、クラウトロック、シカゴハウスといった古典への愛情と現場で積み重ねてきたリアルな経験が生み出す現行のクラブミュージックとしての強度と没入感、そしてKeita Sanoのフリーフォームで奇天烈なサウンドテクニックが同居した渾身の3曲を12“EPに収録。

Vind is 12 pieces written and performed by CTM and produced by Jakob Littauer.

The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions.

The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light.

Dedicated to Jannis Noya Makrigiannis

‘Ayo Ke Disco’ (meaning ‘Let’s go to the disco’ in Malay
and Indonesian) celebrates the musical identities
emerging from the newly independent countries in
South-East Asia during the 1970s and 80s.
Soundway general manager Alice Whittington, aka
Norsicaa (DJ), selects 10 deep cuts from local labels,
officially reissued on vinyl for the first time – forming a
snapshot of the vibrant discotheques and live scenes
across Indonesia, Singapore, Thailand, Malaysia, Hong
Kong and the Philippines.

The artists featured here were known for exploring
traditional sounds alongside funk, disco, city-pop and
even political psych-rock, genres that were indicative
of the exciting but often turbulent period. But despite
the post-war backdrop of instability there came
unprecedented levels of economic prosperity. With a
hopeful buzz filling the air, the music scene was helping
lead the way in reshaping the new identities of the
region.
OVERVIEW:
FOR FANS OF:
Sound of Siam compilations, Priscilla Chan, Lovin’ Mighty
Fire compilation, Tanamur City compilation

Re-issue of this hyper rare single from 1978 on Whirl (West Indies Records Limited). George Clinton's Parliament getting funked up in the Caribbean. TIP!

The Outfit was one of the funkiest bands ever coming from The Caribbean. They showed (together with other top bands from Barbados like The BRC or The Organization) the potential of Spouge music and the many creative possibilities that this genre can lead to.

This single is one of the finest examples of Spouge and Funk blended perfectly together in an explosive, ultra funky cover of the Parliament's "Dr. Funkenstein", titled for the occasion "Dr. Spougenstien". Despite being an extremely rare single, this song used to be quite popular in Barbados, to the point where most people on the Island used to think this was an original song. B side "Theme From Peter Gunn" serves up a punchy and groovy Cosmic disco tune on the very popular Theme from the Peter Gunn tv show.

This single is proposed to you as a first issue on the newly born Lava On Wax Records, started by Dj and Collector Matteo Fava, who have been to Barbados multiple times and works together with former Wirl label since 2020. The release has been possible thanks to help of GUTS from France, who worked since the start of this project to the end in close collaboration with Matteo. Here is what he has to say about this release: " Lava on Wax , It's putting love into old things to make them new with conscience and respect "

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

The prolific & visionary artist known for his work with TV ON THE RADIO, and SPACEK emerges from the shadows with this extremely limited 7" on his newly formed label SPA. This will not be repressed so get it while you can! Full pic sleeve. (SPA) NUJAZZ SOUL HEADZ
"COULD IT BE UR LOVE" introduces a gentle and soothing half-time rhythm, inviting the audience to experience a love bruk atmosphere. SPACEK draws inspiration from the heavenly nights at Plastic People, creating a track that resonates with selectaz who love to move on the dance floor. The warm and luscious sonic of this piece is a testament to SPACEK's meticulous attention to detail and passion for creating music that transcends boundaries.
On the flip side, "DANCING IN THE LIGHT" presents a horse-step rhythm that underpins a future lovers rock style track. With synths and bass pulsating, this track is tailor-made for dance floor enthusiasts who enjoy a one-foot skank.

Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their second album When It Falls in 2004.
When it was originally released, When It Falls was a UK Top 10 album, peaking at no.4 in the UK album charts and spent 24 weeks in total in the charts. It has sold over a quarter of a million copies. Stateside the album entered the Billboard Dance/Electronic chart at #3 and stayed in the Top 20 of that chart for almost thirteen months.

Singles taken from the original album include Home featuring Tina Dico, and Warm Sounds featuring Mozez. Sia and Sophie Barker also feature on the album, with tracks such as Somersault (a UK Top 100 single), In Time and Speed Dial No. 2.

This special run of coloured vinyl (transparent orange (A/B side) & green (C/D side) celebrates the albums 20th anniversary. It uses the original artwork but now pressed on heavyweight colour 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes.

When It Falls is a timelessly classic album from a seminal electronic band and the essential soundtrack to any laidback chilling.

It s been 7 years since I introduced the first part of this series -Mis Hermanos Rumanos- with Sepp and later (Part 2) with Faster and Nu Zau. Seven years later the saga of Romanian brothers grows and continues, it is a pleasure to be able to bring together two good friends and talented artists from the great and already proliferating minimal scene of this country. In this third part we can find a darker and percussive sound, acoustic string instruments and at the same time maintaining the minimalist essence that characterizes Acmé. I hope you enjoy this third installment, we really appreciate your support with the purchase of this record, it is very important for us to be able to continue investing in this quality format. I hope to see you somewhere soon, With love, Alex Font.