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

Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time.
They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed,
double speed, 33 rounds per minute, or was it 45? Just try both.

World percussion meets Techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form asossations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex.No need to put a label on it.
by Roland Schimmelpfennig / excerpt

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

“Follow Your Heart is all about resilience, connection and joy. How we reunite with our souls, our power, our love’s and our heart as we go through the greatest challenges our world has seen. I wanted to make a record that was uplifting and vulnerable. These songs have all been written during the pandemic, a time in which I lost my father to Covid, lost my job (as a touring musician), and leaned on my wife, family and friends and found a closeness with them that I never knew before. I laughed louder, played harder, cried deeper and danced with more freedom than I’ve ever felt during this crazy time - this music reflects it all. While I will never be grateful to the pandemic that has taken many friends and relatives from my life, I am deeply indebted for the time it has given me to reflect, re-connect with my calling and re-envision the musical soundscape of my life’s journey and find the light in a way that’s brighter than ever!!!” -- Michael Franti

For Fan Of: Journey, Rainbow, Kansas, Fates Warning, Armored Saint, Van Halen, Scorpions, Arch/Matheos, Warlord, Jethro Tull When Mark Zonder, famed former Fates Warning and Warlord drummer, started working on material in early 2020 he had a very clear vision for the band he wanted to put together. “I wanted to have a very accessible band that would appeal to the masses and would lead to the ability to tour larger venues. I knew from myself and the others that I would recruit, it would have some sophisticated music parts but the big hook was the main priority.” The result was A-Z, reuniting him with Fates Warning vocalist Ray Alder, Warlord/Steve Vai/Ring of Fire bassist Philip Bynoe, guitarist Joop Wolters and keyboardist Vivien Lalu, the combination of these players stirring up a very specific kind of magic that could not be replicated. The goal was always the same: shorter songs and getting right to the chorus, no twelve-minute songs, and everyone found it easy working to this remit. With everything else coming together nicely, finding the right singer was the hardest aspect of the whole process.

Age of Apocalypse materialize at a shadowy crossroads between metal, grunge and hardcore. The Hudson Valley, NY quintet—Dylan Kaplowitz vocals, Jack Xiques [guitar], Terry Orlando [guitar], Joe Shannon [bass], and Will Kamerman [drums]—steep anthems of darkness, depression, and loss into a disarmingly infectious and downright inimitable hybrid of their own. After receiving acclaim from Stereogum, CVLT NATION, No Echo, and more, the group present a fascinating and fiery vision on their sophomore full-length and debut for Closed Casket Activities, Grim Wisdom. Initially formed during 2018 after Jack and Dylan previously played in another project. Inspired by an unholy alliance of All Out War, Alice In Chains, Type O Negative, and Life Of Agony, they unveiled The Way in 2020. 2021 saw them team up with “Pain of Truth” for a four-song split. In its wake, Stereogum hailed Age of Apocalypse’s “furious thrashers with big, melodically howled lead vocals and crushing breakdowns.” Throughout 2021, they recorded Grim Wisdom with producer Taylor Young of The Pit Recording Studio. Drums were tracked GCR Studios in Buffalo, NY, followed by the band working out of Jack's studio in Western Massachusetts, while Taylor produced remotely from California and later mixed the release. Mastering handled by Brad Boatright of Audiosiege and original artwork created by Dillon Perino.

As many artists have experienced, the past two years hit the entire music and culture industry hard. But MY SLEEPING KARMA – they have truly faced the abyss. Formed almost 20 years ago as a strong bond of best friends with a steady line-up ever since, the band has amassed an incredibly successful back catalogue of five highly acclaimed records and a live album in 2017, as well as extensive touring performances at sold-out venues and prestigious festivals that have marked them as one of the most well-respected instrumental post- and hypnotic rock bands within the heavy music community. Closing a seven-year gap since their latest studio album, Moksha, MY SLEEPING KARMA will release their most emotional, deepest, darkest record to date, inspired by tragic events, on July 29, 2022. The new album, Atma – the logical successor to Moksha – describes the (absolute) self, the indestructible, eternal essence of the spirit, and is often translated as the "soul". Sickness, death, and existential fear had brought the band to a point in music and life at which they were close to parting ways. But their will to survive has been recorded on Atma, a record the band wasn’t even sure would see the light of day when they started working on it back in 2017, and if it did, would’ve never been for industry sales, fame or success.

ft. Leia Contois

Crosstown Rebels has remained at the forefront of contemporary dance music for nearly two decades. Championing both breakthrough artists as well as those well-established, the 15th of April will see this perfectly encapsulated as label-head Damian Lazarus, global-house duo Gorgon City and rising vocalist Leia Contois team up on Start Over, Crosstown’s biggest release of the year so far.

Tribal-like drum patterns get things underway on Start Over, as we’re soon graced with the enchanting vocals of Leia Contois. Mesmeric and moving, her delicate lyrical offerings complement the electronic sounds of Damian and Gorgon City, with the introduction of a driving lead bassline in the track’s second half helping to create a hard, club-ready edge. It feels emotive and geared for the dancefloor simultaneously, showcasing an innate chemistry between each artist.

Damian Lazarus: DJ, producer, Crosstown Rebels label-head and internationally recognised talent. His contributions to electronic music speak for themselves, from championing the likes of Jamie Jones and Seth Troxler in their early days, to running and operating multiple festivals in the form of Day Zero and Get Lost. From global headline tours to achieving several UK Top Ten singles, Gorgon City have become one the UK’s most successful electronic producers in recent years. Crossing over into mainstream popularity whilst remaining true to their underground roots, the boys have sold out venues the world over, with London club highlights including Printworks, Tobacco Dock and O2 Academy Brixton to name a few. US-native Leia Contois is an actress, model and vocalist. Her contributions on Start Over marks her maiden appearance on Crosstown Rebels, setting the tone for a highlight year ahead.

Radio Slave & Dustin Zahn team up as Radio Zahn for ‘Berlin Sessions Vol. 1’.

Joining forces for the first time, Radio Slave and Dustin Zahn launch their collaborative works as Radio Zahn with a set of colourful, groove-laden techno tracks inspired by the sound of mid-90s New York on Rekids this May. Across all three mixes of ‘Twilo’ and ‘Power Muzik’, the duo deploys chunky, hard-hitting drums alongside building arrangements and masterful use of synths and dubbed-out FX, with the former featuring vocals by Toy Tonics member Kosmo Klint. A dream for fans of intricate, dancefloor-friendly techno, the release showcases why Radio Slave and Dustin Zahn are two of the most consistently exciting artist in dance music.

Responsible for some of the most recognisable tracks in the genre, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and other timeless cuts, Radio Slave aka Matt Edwards’ work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, best exemplified at his legendary marathon sets at Berghain. His vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the Minneapolis techno scene and beyond.

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE MYSTERY ROAD SESSIONS!

"Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!"

Woodhead is a steady medium groover built around an acute chanky guitar part that Joel Ricci aka Lucky Brown composed while living in the "Woodhood" district of Bellingham Washington, USA in the fallout shadow of an industrial area on the outskirts of town. The Woodhood was so named because the streets were all named after different kinds of trees; Cottonwood, Alderwood, Birchwood, etc. Though members of the band had been performing Woodhead since as early as 2004, it had never been officially committed to tape. So during the 2013-2014 span of living room "Magik Carpet" sessions at drummer, Oliver Klomp's house in West Seattle, the combo dubbed by Lucky as "The New Lucky Seven" casually hit the head a couple times before calling it a night as Lucky rolled tape.

Opening with the now world-famous guitar player, Jabrille "Jimmy James" Williams dropping deftly into his rhythmic part, Lucky chants in the background the words "don't stop" as the tension builds up into the moment the whole band comes in. With Bob Heinemann on bass, Marc Hager on Rhodes and Oliver Klomp on drums, the thick but honest groove is instantly palpable. Trombone player Mars Lindgren and Sax player Thomas Deakin, along with Lucky on Trumpet lay down the 'head' to the tune right off the bat with everyone in the band giving that hard hit on the 4 count of the last bar of the repeated figure. This 'hit' returns again to form the breakpoint between soloists Jimmy James, Marc Hager, and on side B, Thomas Deakin, and Lucky Brown on the flute. The horn section microphone was situated on the dining room table and Lucky just had to lean over to reach it with his instrument! Michael Iris of Bell Creek Studio transferred and mixed these two tunes from Lucky Brown's cassette machine.

This tune was left off of the Mystery Road compilation album but comprises one of the last tracks created during those sessions therefore the concept, vibe, style, and intention should resonate and be interchangeable with the rest of the 45s from that epic Box Set TR-9043 released by Tramp Records on May 4, 2015.

As you spin and interact with the Mystery Road recordings, you are invited to allow Woodhead to take its rightful place specifically alongside the other "The New Lucky Seven" recordings and generally as a part of the suite of crude and naive living-room "Magik Carpet" funk of the rest of the Mystery Road.

As illuminated before in Lucky's artist statement regarding the Mystery Road sessions, the music contained therein was always intended to put emotion, vibe, feeling, and spirit before technical, spatial, or even performance constraints and to serve as a gift of discovery to lovers and aficionados of the deep funk idiom and the rare 45rpm format. Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!

Originally released as an obscure private-press LP by the Florida trio of Ben Champion, Ken Burkhart and Danny Burger.

Special guest on this super rare funky jazz outing is Mike Longo who says a few words on behalf of the group on the back cover, and sure enough he contributes scorching Rhodes in the style of his early 70s Greasy Groove sides for Groove Merchant and Mainstream. Also on board are Kelton Champion on guitar, Gary Champion on Bass, Mickey McGann on keys and David Winters on Congas and Percussion: (Just what we love to see on these kind of grooves. Added Phat Funkiness!)

The 20 minute title number weaves, bobs, and scorches with a sound that has been described as a "Headhunters Headspace" the groove never dropping for an instant with a Fender Rhodes meets Hammond B3 Prestige Style Scene with an added flavouring of some chunky Moog Synthesizer.

This has gotten a lot of chatter on the underground Jazz Vibes lately, copies changing hands for $300 and more. The track "These Are My Friends " regularly sells for upwards of $500 and is one of the most hard to find singles on the Rare Soul circuit.

The band are from South Florida, a well known melting pot of culture and music.This area has produced an impressive number of Super Star Jazz Musicians.

Among them Cannonball Adderly, Blue Mitchell, Jaco Pastorius, and Mike Longo and a multitude of others.

Jazzberry Patch can now be added to that roster with this fantastic re-issue from Jazz Room Records.

The Catatonics were Syracuse and Central New York’s first hardcore punk band. (Non-Returnable.)

Besides pioneering the original 1981/1982 Syracuse Hardcore scene, their classic Hunted Down EP/7" is considered one of the first hardcore thrash/metal crossover releases, right up there with COC or DRI and remains a sought after (and pricey) collectors item 30+ years after it's release.

Often compared to Jerry's Kids, SSD, Negative Approach and even Slayer, The Catatonics weren't followers or imitators, more like period contemporaries. Although the wait has been decades in the making, Southern Lord will be reissuing Hunted Down as a 12” vinyl release with bonus tracks.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Thrash 'til death - HATRIOT are finally back with their new album "The Vale Of Shadows", and it is full of thrash gems, a few death metal, hardcore, and metalcore influences and comes with a modern production!

HATRIOT's new album "The Vale Of Shadows" includes topics such as personal growth, pent-up aggression, the Black Plague, serial killers, and a disturbing dark world.
HATRIOT changed their writing style and added a more modern production their new album, also including more death metal, hardcore, and metalcore influences.
The album includes heavy mid-tempo songs and even an instrumental.

Formed in 1968, Nazareth rose from the pubs and clubs of their native Scotland to become one of the most successful rock bands in the world, notching up a string of hit records along the way. Hard-working, honest, sincere, and unaffected by the vagaries of fashion, this band of the people have influenced many great artists. Half a century later, and having sold in excess of 20 million albums around the globe, the legendary Nazareth are still rocking hard!
2XS, originally released in 1982, is Nazareth’s 13th studio album, which will be reissued on aqua coloured vinyl, as well as on CD.

Formed in 1968, Nazareth rose from the pubs and clubs of their native Scotland to become one of the most successful rock bands in the world, notching up a string of hit records along the way. Hard-working, honest, sincere, and unaffected by the vagaries of fashion, this band of the people have influenced many great artists. Half a century later, and having sold in excess of 20 million albums around the globe, the legendary Nazareth are still rocking hard!
Cinema, originally released in 1986, is Nazareth’s 16th studio album, which will be reissued on white coloured vinyl, as well as on CD with bonus track.

Formed in 1968, Nazareth rose from the pubs and clubs of their native Scotland to become one of the most successful rock bands in the world, notching up a string of hit records along the way. Hard-working, honest, sincere, and unaffected by the vagaries of fashion, this band of the people have influenced many great artists. Half a century later, and having sold in excess of 20 million albums around the globe, the legendary Nazareth are still rocking hard!
No Mean City, originally released in 1978, is Nazareth’s 10th studio album, which will be reissued on green coloured vinyl, as well as on CD with bonus tracks.

Formed in 1968, Nazareth rose from the pubs and clubs of their native Scotland to become one of the most successful rock bands in the world, notching up a string of hit records along the way. Hard-working, honest, sincere, and unaffected by the vagaries of fashion, this band of the people have influenced many great artists. Half a century later, and having sold in excess of 20 million albums around the globe, the legendary Nazareth are still rocking hard!

Snaz, originally released in 1981, is Nazareth’s infamous live album, which will be reissued on orange and green double coloured vinyl, as well as on double CD.

Formed in 1968, Nazareth rose from the pubs and clubs of their native Scotland to become one of the most successful rock bands in the world, notching up a string of hit records along the way. Hard-working, honest, sincere, and unaffected by the vagaries of fashion, this band of the people have influenced many great artists. Half a century later, and having sold in excess of 20 million albums around the globe, the legendary Nazareth are still rocking hard!
Sound Elixir, originally released in 1983, is Nazareth’s 14th studio album, which will be reissued on peach coloured vinyl, as well as on CD.

2021 erschien die Wiederveröffentlichung des ikonischen Mixtapes „Beam Me Up Scotty” von Nicki Minaj.

Das Mixtape erschien ursprünglich 2009 und verhalf der Rapperin zu ihrem internationalen Durchbruch. Neben den unvergesslichen Solo-Tracks wie „Itty Bitty Piggy“ und „I Get Crazy“ enthielt es auch zahlreiche namhafte Feature-Gäste wie Lil Wayne, Gucci Mane, Busta Rhymes, Bobby Valentino und Drake.

Das letzte Studioalbum der Rapperin, „Queen“ (2018), landete auf Platz 2 der amerikanischen Billboard Charts und sorgte auch international für große Begeisterung. Dank der Neuveröffentlichung von „Beam Me Up Scotty“ schlagen die Herzen von HipHop-Fans nun wieder höher, denn die Queen is back! Nach dem das Album letztes Jahr als CD erschien, wird es nun auch als 2LP veröffentlicht.

Bloodywood from India are the hottest new band in the Metal-genre. Millions of followers online and a growing fanbase! The self-released debut “Rakshak” finally released as a proper vinyl edition!

Formed in 2016 as a fun band, Bloodywood from New Delhi, India are the hottest metal band right now! They bring everything you need in 2022: aggression, global ideas, visionary views, politically correct behavior and standing up for minorities from all walks of life. The band around the three heads Jayant Bhadula, Karan Katijar and Raoul Kerr managed to break into the international charts on their own and gathered an incomparable fan following. What started out six years ago with Bollywood and Linkin Park-covers has grown to a size that's expanding by the day. Bloodywood fans can now be found all over the world, millions of people have heard their songs and watched their videos, the wave can no longer be stopped. Now the debut “Rakshak”, which the band self-released in early 2022, is finally out on vinyl! In the summer of 2022 they will storm the European festivals, make their point in the USA in September and return to play their long-awaited clubtour through Europe, which was postponed due to the pandemic, at the beginning of 2023. Tickets are already running low. In a year at the latest everyone will know who Bloodywood is. Tom Morello (Rage Against The Machine) already knows it and has drawn his fans' attention to the Indian metallers with a tweet: "Rocking!" he calls the Indian sensation. Among other things, the musicians are involved in animal welfare and social projects and use traditional Indian instruments such as the tabla, dhol or bamboo flute. They mix it with rough thrash metal, urban rap vocals (English/Hindi/Punjabi) and rock-hard grooves. That creates a lot of uproar, at times sounds like open street fighting and, despite the regional references, has an absolutely international level. Especially since moderate sounds also find their place on “Rakshak” (Hindi for “protector”), as can be heard from the tracks 'Zanjeero Se' and 'Jee Veerey'. Bloodywood definitely deliver Linkin Park-standards here and even open themselves up to target groups that are less metal-savvy. The majority of this album rages like an unleashed tropical storm ('Dana-Dan', 'Chakh Le') is decked out with an impressively rabid force and hardly allows the listener any breaks. This mix is what makes it so successful: the album entered the Billboard charts, making them the first Indian metal band to do so.“Rakshak“ was also successful on Bandcamp, where it topped the platform's album sales upon release and was ranked as the 22nd best-selling new release of all time (as of March 2022) and the 3rd best-selling metal release. Rock for a rebellion that will be unstoppable!

Bloodywood from India are the hottest new band in the Metal-genre. Millions of followers online and a growing fanbase! The self-released debut “Rakshak” finally released as a proper vinyl edition!

Formed in 2016 as a fun band, Bloodywood from New Delhi, India are the hottest metal band right now! They bring everything you need in 2022: aggression, global ideas, visionary views, politically correct behavior and standing up for minorities from all walks of life. The band around the three heads Jayant Bhadula, Karan Katijar and Raoul Kerr managed to break into the international charts on their own and gathered an incomparable fan following. What started out six years ago with Bollywood and Linkin Park-covers has grown to a size that's expanding by the day. Bloodywood fans can now be found all over the world, millions of people have heard their songs and watched their videos, the wave can no longer be stopped. Now the debut “Rakshak”, which the band self-released in early 2022, is finally out on vinyl! In the summer of 2022 they will storm the European festivals, make their point in the USA in September and return to play their long-awaited clubtour through Europe, which was postponed due to the pandemic, at the beginning of 2023. Tickets are already running low. In a year at the latest everyone will know who Bloodywood is. Tom Morello (Rage Against The Machine) already knows it and has drawn his fans' attention to the Indian metallers with a tweet: "Rocking!" he calls the Indian sensation. Among other things, the musicians are involved in animal welfare and social projects and use traditional Indian instruments such as the tabla, dhol or bamboo flute. They mix it with rough thrash metal, urban rap vocals (English/Hindi/Punjabi) and rock-hard grooves. That creates a lot of uproar, at times sounds like open street fighting and, despite the regional references, has an absolutely international level. Especially since moderate sounds also find their place on “Rakshak” (Hindi for “protector”), as can be heard from the tracks 'Zanjeero Se' and 'Jee Veerey'. Bloodywood definitely deliver Linkin Park-standards here and even open themselves up to target groups that are less metal-savvy. The majority of this album rages like an unleashed tropical storm ('Dana-Dan', 'Chakh Le') is decked out with an impressively rabid force and hardly allows the listener any breaks. This mix is what makes it so successful: the album entered the Billboard charts, making them the first Indian metal band to do so.“Rakshak“ was also successful on Bandcamp, where it topped the platform's album sales upon release and was ranked as the 22nd best-selling new release of all time (as of March 2022) and the 3rd best-selling metal release. Rock for a rebellion that will be unstoppable!

As lockdown approached in 2020, Chicago-based singer Lili Trifilio was
wrapping up a tour in support of Beach Bunny's debut album, Honeymoon
- Suddenly, she found herself back at her parents' house, coping with her
new reality - To deal, she retreated into sci-fi stories and her alwaysactive imagination
She envisioned new places to travel in her mind, thus dreaming up big, bombastic
pop sounds to construct Beach Bunny's highly anticipated sophomore album,
Emotional Creature. Simultaneously about personal growth, Emotional Creature is
a collection of highly relatable songs that capture the highs and lows of new
relationships, the joys and vulnerabilities of letting someone in, the gut-wrenching
realities of experiencing anxiety, leaving toxic relationships, and seeing yourself
through the eyes of the one you love. These complex feelings are expertly
contrasted with ultra-poppy melodies, anthemic choruses, and a slight punk edge.
'The songs have grown with me over time,' Trifilio explains. 'Some of them were
written in various stages of life, and I think as we go through different
experiences and hardships, you come out stronger. I've grown as a person, so the
songwriting reflects that.' With its openhearted, vulnerable themes and
progressive, hook-filled take on pop rock and pop punk, Emotional Creature only
further cements Beach Bunny and Trifilio's well- earned reputation as a leading
voice of their generation.

Available on color vinyl for the first time on limited edition opaque blue packaged with download code. Isotope 217 is made up of Dan Bitney, John Herndon, and Jeff Parker from Tortoise along with Rob Mazurek (Chicago Underground, Exploding Star Orchestra), and Matt Lux (Iron & Wine). The music of Isotope 217 is as complex and varied as the influences of it's members. Isotope 217 on Isotope 217: "It is hard to state exactly what this band is because of the diverse influences of the participants. One might say an eclectic avant funk ensemble dedicated to the Phonometric * system of universal thought. One might also say a freewheeling trans-moleculer unit dedicated to the betterment of all worlds." *Note phonometrics are, as described by Satie, the Science of measuring sound.

John Moreland doesn’t have the answers, and he’s not sure anyone does. But he’s still curious, basking in the comfort of a question, and along the way, those of us listening feel moved to ask our own. “I don’t ever want to sound like I have answers, because I don’t,” he says. “These songs are all questions. Everything I write is just trying to figure stuff out.” Moreland is discussing his new album Birds in the Ceiling, a nine-song collection that offers the most comprehensive insight into the thoughts and sounds swimming around in his head to date. A compelling blend of acoustic folk and avant-garde pop playfulness, Birds in the Ceiling lives confidently in a space of its own, enriched by tradition but never encumbered by it. The songwriting that has stunned fans and critics alike since 2015’s High on Tulsa Heat remains potent, while the sonic evolution that unfolds on the record feels like a natural expansion of 2020’s acclaimed LP5. The New Yorker, Pitchfork, Fresh Air, Paste, GQ, and others have embraced Moreland’s meditative songs, while performances on The Late Show with Stephen Colbert, CBS This Morning, NPR Tiny Desk Concert, and more have introduced Moreland to millions. And yet, while the Tulsa-based Moreland is grateful for the respect and musical conversation he’s now having with people around the world, he is also more focused on the idea of just talking to one person––or even himself. “Through the years, I’ve felt like I’m increasingly talking to myself in my songs, more and more,” he says. “Maybe in the past, I wasn’t aware of it, but now, I am. I think doing that has helped me be less hard on myself, which makes you more generous and compassionate in general.” That helps explain why even if Moreland is reaching out to someone else, there is no judgment. “I’m in the same boat with whoever I’m talking to,” Moreland says. Moreland’s songs do feel intimate––like overheard conversations or solitary meditations. “I want to talk one-on-one to someone in a song,” he says. “I don’t want to address a group, really, because I think that’s when it’s easy to start pontificating––and it gets less honest.” Letting things just be what they are is a powerful guiding force for Moreland, determining not just how he interacts with others, but how he treats himself. “When you remove boundaries and instead of holding back parts of yourself––when you say, ‘Okay, I’m going to put all of me into this,’” Moreland says, "You end up making music that nobody else could make.”

A Ride is the new dark alt-country concept album on the road by Phill Reynolds, to be released on June 17th, 2022 by Bronson Recordings; Like all the best concept albums, A Ride takes you on a journey. This one concerns the last three days of an American runaway’s life. Part road-trip, part engrossing mystery, part search for redemption, it’s the fictional tale of a troubled man whose past comes back to haunt him. Via eleven intimate, chronologically-sequenced songs, we travel with him. There are epiphanies and dream sequences, drunken dive-bar nights and chats with Jesus and Lucifer. As the narrator battles with his dark side, it is ultimately we, the listeners, who must weigh-up and flesh-out his story. According to its creator Phill Reynolds, AKA Italian alt-country singer-songwriter Silva Martino Cantele, the key to The Ride’s mystery might lie within its fifth song, A Clockwork Dream. “That’s where we discover that, because of some kind of courtroom trial, the narrator has lost someone who was very important to him”, Reynolds explains. “But we never find out her name or her relationship to the main character. Is she a blood relative? Is she his wife or someone else?”. The origins of A Ride go back to 2015. On tour in the US, Reynolds took in the shifting landscapes, the people he met and their stories. All of this fed into the album he recorded at the all-analogue TUP Studio in Brescia, near Milan. Reynolds played almost all of the instruments himself and co-produced A Ride with long-term collaborator Bruno Barcella. If A Clockwork Dream features a full band arrangement – “I think of it as the kind of thing Neil Young & Crazy Horse might do on a Sunday morning”, says Reynolds – other songs are sparer, more intimate. Banjo, Fender Rhodes, harmonica and glistening slide guitar all feature as Reynolds delivers haunting confessionals such as Run, Run Away and The Fault Is Mine, songs likely to appeal to fans of artists such as Damien Jurado, Strand Of Oaks or For Emma, Forever Ago-era Bon Iver. Intricate, rapid-fire fingerpicking on the first single This Isn’t Me and The Call of The Dark demonstrates Reynolds’ dexterity, while his voice is a rich, fully-lived in instrument seasoned with the salt of experience,and strengthened by the 120 or so gigs a year he used to do before COVID took his one-man show off the road. Long an inhabitant of picturesque Italian towns in the Vicenza province, Phill Reynolds was born in Marostica and currently lives in Zugliano. He was only five when The Beach Boys’ Barbara Ann worked its magic upon him via the radio. Later a fan of ‘90s Californian punk bands, Reynolds was writing and performing in his own post-hardcore bands by 13, but didn’t make it to the nearest big city, Milan, until he was 19. Bands still matter deeply to him. But his love for folk music has deepened over the last decade or so, hence his solo act alter-ego. Where did the name Phill Reynolds come from? “Everybody asks me this,” he smiles. “Especially in the UK. The truth is I needed an alternative name for a gig I was doing, and at the time I was in love with the music of Phil Ochs and Malvina Reynolds. Malvina Ochs didn’t sound too good to me, so I became Phill Reynolds, and I like that, because it sounds like a normal person”. The esteemed Italian label Bronson Recordings will release his fourth solo album A Ride on June 17th, 2022, on CD, vinyl and digital. A Ride is the most ambitious and fully-realised Phill Reynolds album to date. He was assisted by Stefano Pilia (lead guitar on Dive Bar Oblivion), IOSONOUNCANE (backing vocals, synth, bass and field recordings on World On Fire), and C+C=Maxigross (bass, drums and backing vocals on In The Dark). The record’s story is a dark one, but not one without hope. “Every end is a new beginning”, says Reynolds. “One of the main themes here is that life can be a sort of trap unless you recognise your own demons and try to deal with him. So we must be prepared and try to live well”.

A warm welcome to Italian-American producer Matasism, who debuts on BPitch with his four-track EP Can You Feel My Soul. Matasism launched his own label Ma¨ta¨sism in 2017, releasing exclusively via the platform until very recently. He lands on BPitch with an EP that channels the essence of freedom and liberty found in the rave. It’s a compelling EP that blends trance, techno and acid influences into a memory evoking collection of music.

The remake of ‘Can You Feel My Soul’ kicks things off, firing on all cylinders with a hypnotic riff and hea- vyweight kicks. More layers are added to increase the depth and energy, leading into a mesmerising break- down. Meanwhile, the following original mix has a grizzly bassline spliced with hard-hitting beats. On the flip ‘Age Of Fantasy’ opens up with a dramatic intro leading into a powerful, enchanting main riff. Vintage sounds with a contemporary flavour. Next up is ‘Space Invaders’, a high-octane cut that utilises a trance-esque oscillating low end to captivate the listener. Get ready for an explosion of energy after the bre- akdown, transcendent.

Now onto its fourth volume, NuNorthern Soul’s annual Summer Selections EP is fast becoming a must-check for fans of slow-motion sunshine sounds, contemporary Balearic beats and sumptuous downtempo grooves.

Summer Selections Four showcases six hand-picked tracks from EPs and albums to be released by NuNorthern Soul in 2022. A genuine ‘cream of the crop’ or ‘best in class’ feel, with NNS label boss and curator Phil Cooper putting together a varied EP piled high with evocative melodies, atmospheric chords, tactile grooves and ear-catching instrumentation.

First to step up to the plate is experienced producer James Bright, whose cut ‘Amber’ offers a bubbly, colourful and analogue-rich stroll through mid-tempo Balearic house territory. The track is one of the highlights of Bright’s forthcoming Totem EP. It’s quickly followed by ‘Nana a Leon’ from Be.Ianuit’s Entre Dos Islas EP, a gorgeous mixture of deep bass, twinkling pianos, sultry synth-strings, sparkling synthesiser arpeggios, echoing machine drums and spoken word vocals from guest performer Marcos de la Fuente.

San Francisco’s Cole Odin offers a snapshot of his forthcoming Songs For Suns EP via ‘Growing’, a slow-motion sunset soundscape built around ethereal chords, chiming melodies and head-nodding drums, while Gold Suite’s ‘The Cowboy’ – taken from the On My Horizon EP – brilliantly joins the dots between jangling Americana, mid-‘80s Balearic reggae and sun-soaked instrumental synth-pop. While brand-new, it could easily be mistaken for the kind of obscure, hard-to-find gem that gets Balearic record collectors so hot under the collar.

Next up is another new signing to NuNorthern Soul, North of the Island, whose debut EP Feeling Free is undoubtedly a highlight of the label’s 2022 release schedule. ‘I Feel’, the track showcased here, adds attractive, sunset-ready musical flourishes to a chugging, delay-laden rhythm track and the kind if squelchy bass-line most often found in proto-house and early ‘80s electro-funk cuts. It’s a spaced-out, mind-altering delight.

Rounding off another sizzling Summer Selections excursion is ‘Smoke & Fly’ from fast-rising twosome Residentes Balearicos, an Ibiza-based Italian duo who impressed many with their 2021 EPs on Balearic Ensemble. Dusty, bass-heavy, drowsy and picturesque, the track is a simply gorgeous chunk of Balearic dub piled high with organic percussion, undulating acid lines and mazy solos. It provides a fittingly triumphant conclusion to another essential sampler EP from NuNorthern Soul.

THE HITMAN aka MARVELLOUS CAIN delivers his most sought after tracks on vinyl!

RETURN OF THE HITMAN collects together 16 of the most exclusive cuts from Marvellous Cain’s extensive back catalogue, all remastered and presented as a collectable vinyl box set package.

This album has been a long time coming, much of that time spent by Marvellous Cain digging through his studio to find original DAT recordings of his most in demand hits, in the process unearthing some exclusive, never before released gems!

This album kicks off with 2 versions of arguably his most notorious track Hitman, a certified jungle classic from 1994! For this compilation, Marvellous Cain has selected the version of Hitman previously only available on his debut Gun Talk LP back in 1995 (released on Suburban Base). He’s also treated us to the very long overdue, unreleased, DJ Stretch Dubplate VIP, originally produced in ’94, but never pressed to vinyl!

On the flip are two cuts from the infamous Lucky Spin imprint... Life Is Rollin & Miss Out. Both tracks were originally available as a very limited white label press, but never got a full release. This has been selling for £90 on reseller sites due to its scarcity.

Record 2 is again packed with rare music, with 3 of the 4 cuts being unreleased to date. The first track Will I See You? has traded hands for an incredible £500 on Discogs, we can see many buying Return Of The Hitman for this track alone!

Our 3rd slice of vinyl see’s Marvellous Cain teaming up for studio collaborations with original jungle don Bizzy B on Everyday Junglist, also with Libra for an unreleased alternative version of Nu Music discovered on the original session DAT from 1996.

The 4th and final slice of wax in this package introduces new remixes of a couple of classic tracks. CB4 has been reworked for 2022 by Marvellous Cain himself. Dubplate Style has a fresh ‘22 lick by D&B’s hardest working DJ Nicky Blackmarket alongside production partner FreezeUK who’s recently released on Ram Records sister label Prog:Ram!

We close out with two dubplate exclusives from 95 & 96 respectively, taken from Marvellous Cain’s personal arsenal of DJ ammunition, and now available for the first time to the record buying public.

The genre re-defining chameleons of Hard Ton are back on Schrödinger’s Box with their own brand of style splitting acid house disco. Bigger is Better, a double EP album, has all the depravity and drama you would expect from these disruptors. “Be Somebody” is a proud call to a dirty beat; chin up, chest out and let the claps and hi-hats fly. Flanger effect units are pushed to the max in “Trip To Your Mind”, an acid dripping, falsetto bending banger. Rhythms collide and sweat hits the floor in the body jacking “You Want Me” before new age rave mantra of “Transcend Your Body” with its steepling synth stabs and 303 barbs. The close, “Girls and Boys,” is inspired by a Brit Pop hit. Beefed-up, muscled-up, this club ready weapon will bring the house down.

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

Following up their 2020 EP Barcelona IRREAL delivers eight troglodyte anthems of radikal hardcore punk. Borrowing heavily from the Hear Nothing era DISCHARGE and echoing equally Suomi classics DESTRUKTIONS/ MELLAKKA and AOQ demo era CRO-MAGS, IRREAL creates a maelstrom of hypnotic feedback. Era Electrónica Catalan and Spanish anarchist lyrics bind the bands primitive sonic assault, delivering a modern hardcore punk record without an ounce of modern attitude. Punk as it is meant to be; nasty, aggressive, political and uncompromising. Recorded, mixed and mastered by Markus at No Master's Voice in Copenhagen. Cover art by Arturo PS. IRREAL will be touring the Iberian Peninsula early June with TENSÖ.

Picture the scene if you can. It’s Sunday evening at the Meakusma Festival, 2019. A small audience (in varying states of inebriation and recovery) sit patiently on the floor, drenched in soft sunlight. Fizzy Veins is set up to play - his guitar resting on his knees while he stares into his laptop with an expression displaying amusement and fear in equal measure. He tentatively speaks into the microphone. There’s a lot of reverb. I don’t think anybody has the slightest idea what he’s saying. I assume he’s delivering a joke, but it’s very hard to tell. People laugh. After yet more tweaks to his gear he starts to play some loose, bendy phrases on the guitar, and we are all gently vaporised up Mount Effervescent. Our benevolent guru sits at the peak, speaking in tongues to the freshly formed congregation. The beats start to roll out and the sun begins to set in the evening sky. Fizzy transitions and he continues his long distance narration from deep inside his own reverb. It sounds like he’s in another room. On another planet, more like.

Witnessing the show, as I did, left me wondering how he even manages to boot-up his computer.. let alone produce an album as brilliantly formed and coherent as this!

Yours sincerely,
A. Fizzyfan

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself. Written in the New Mexico wilderness and produced in Los Angeles, the double album will finally be available in it's entirety this summer via Run For Cover. Young Guv's talent as a songwriter has been with us for a long time. From forming iconic hardcore act No Warning in 1998 to joining Toronto legends Fucked Up, Ben Cook started writing songs as Guv in 2008 between a slew of other projects that were ambitiously working to define the genres they operated in. When he first started working with Run For Cover in 2019, the plan was to release a single record - but with too many songs to turn away, the project expanded into his first double album, GUV I & II. GUV III & IV finds the same ambition and expertise in hit-making, but this time the individual records hone into specific parts of Guv's sonic palette. GUV III is full of iconic hooks, power-pop guitar riffs and dancable-rock songs, while GUV IV takes notes from psych rock, electro pop and Laurel Canyon jangle to make something that as a whole, can only be defined as definitively GUV

In the ever-competitive hip-hop arena, Tha God Fahim has proven to be a formidable opponent. With an unmistakable voice and an irrepressible flow, the Atlanta rapper has won over countless fans with a unique blend of style and substance, delivering sophisticated street wisdom over raw, soulful beats.

Expanding an extraordinary catalog that already includes more than 100 mixtapes, Tha God Fahim is now debuting "Six Ring Champ", his second studio album with Nature Sounds. A meditation on achievement and the hard work it requires, the album is a triumphant statement from an inspiring artist. "Six Ring Champ" features multiple appearances by Your Old Droog, plus production by Nicholas Craven, Camoflauge Monk, Thrasherwulf, and Fahim himself.

Jon K & Elle Andrews' MAL imprint returns with its second release - a long rumoured excursion from Equiknoxx skippers Gavin “Gavsborg” Blair and Jordan “Time Cow” Chung operating under the Gav & Jord masthead for the first time. It’s their most probing x tight set of productions thus far - showcasing that naturally wild rhythmic mutability that’s earned them followers in every corner of the experimental paradigm over the last few years.

‘Writings Ov Tomato’ ties off a loop between Equiknoxx and their early supporter Jon K, who was pivotal in bringing their productions to the attention of Sean Canty at DDS, who went on to release their by-now seminal ‘Bird Sound Power’ album a good half-decade ago. This new set of tracks came about after MAL urged to the duo to explore any under-excavated musical territory they’d been thinking about since they began to tour the world, and the result is this incredible, purely instrumental LP that romps between Autechrian mutations, avant R&B swangers, Jersey-style sluggers and proper, wig-flipping club missiles.

Who else would boot off a new LP with a track titled ‘Childish House Mafia’? The fact it sounds like Actress formulating an industrial noise tape using ritual chants just makes it all the more screwy. The title track returns the duo to more familiar ground, with prickly “Bird Sound Power” drums notched up a few BPM and spliced with whirring trap hats and disorienting synths. ‘A Yow Jon K’ is a Kingston-fried take on sun-bleached Miami electro, with a rolling beat filled out by Gav & Jord’s hard boiled soundboard x foley crunches, before ‘Pig Pilot’, the record’s most substantial cut, loops JBC Radiophonic Workshop convulsions around a booming 4/4 that wouldn’t sound completely out of place at Berghain’s Klubnacht. Saturating the hook and allowing ferric hats to fill in the gaps, the pair manage to fabricate a sound closer to 1970s library music than Villalobos, and we’d wager you ain’t ever heard owt like it.

Combine all this with lower-key slithering industrial-ambient moments like the plughole-wonked outro ‘Brent Bird’ (named after Gav’s producer brother), the tuned tinkle of ‘No Sweat in my Sweatpants’ and the airborne elegance of ‘Appinness’, and you’ve got another Equiknoxx joint that draws from the syncretic mosaic of Afro-Latin-Sino-US influences and re-contextualises them into remarkably odd and effective structures that dance in the integers of a myriad styles.

DJ Swagger Minor Major Grand Schemes Nearing that halfway mark into 2022, you'd think Bielefeld's most illustrious producer DJ Swagger would have begun losing steam. Following a successful string of releases throughout the New 20's - consistently solid slabs on Thirty Year Records, ec2a, Timeisnow, plus killer collaborations with LUZ1E as DJ DOOM - the young musician pulls out his second full-length on his own GODDESS MUSIC imprint in the form of a slick, multi-genre double-pack: Minor Major Grand Schemes. MMGS is as much a refinement as it is an expansion of Swagger's stylistic bag of tricks, maneuvering through modern styles of club music, pop sensibilities and sleek production techniques that ticks off boxes for both DJs and casual listeners alike. You got your cheeky intros/interludes and your trap-pop miniatures; dusky UKG street devotionals and bonkers dubstep tools; sexy vocal features, clickity-clack percussion, and biiiig low-end. This is what DJ Swagger says about his new LP: This album is the most DJ Swagger sound yet. It wraps up all my influences from techno over hiphop to breakbeat and IDM. I had such a great time working on this and watching the process. I'm beyond grateful for the features and beautiful people that consistently helped me shape this piece of music. As said this is my very own project on my own label. Probably the largest project I ever started and drove to finish. Minor Major Grand Schemes stands for the balance between objective and subjective reality. Your perception of things mirrors on how you see them, feel them and take them for yourself. Minor major, so to say, important or not-so-important, grand schemes, means that things might get more or less important on how you value them. This is at least what I learned for myself doing a long-term therapy late 2020 into early 2021 against depression and OCD. As my view changed, so did my surroundings. As my surroundings changed, so did my view. I found that to be a really important and crucial lesson on how to deal with fear, anxiety and feelings alike. The toughest thing is to learn how to shift your mind towards another, more positive direction. That might take time, a lot of hard work and a strong will. Be sure that it is okay to ask for help, always. If I didn't get the help I got during my down times, I don't know where I would be now. This is why I decided on that name for this album. Consider yourself important and beautiful at any given time. Have fun and enjoy listening to Minor Major Grand Schemes.