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Buckle up, explorers! With the third release on HUA3000, we focus on moments of bliss in the here and now. If you’re like us, a fan of the mid-90s, you'll enjoy the familiar unfamiliarity that these tracks bring to the dance floor - perfect to re-energize crowds in the early morning.

The groovy banger on the B2 is a remix by Welwert (aka. Man/ipulate)

What to expect:
4 tracks of the extended House family, 127-132 BPM, punchy kicks, lush pads and moving bass-lines (oh boy oh boy!)

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

14 tracks, all great examples of real soul music, a mix of well-known classics, overlooked gems, and 4 original unreleased songs.

PM Warson returns with a brand-new 7” single - ‘Right Here, Last Night’ / ‘Retrace The Steps’ out 17 May - and the introduction of his own label marque FYND, with Acid Jazz. Both sides have a great Rhythm & Soul club feel, straddling influences from British and original American R’n’B of the mid-‘60s, with a hint of late-night jazz, characteristic of the PM Warson sound.

PM Warson is known for his breakout single ‘(Don’t) Hold Me Down’, with the original white-label pressing fetching hundreds of pounds on collector sites and eBay. After two acclaimed albums with the Légère Recordings label out of Hamburg (’True Story’ 2021 and ‘Dig Deep Repeat’ 2022), and having established himself on the European touring and and festival circuit, he returns with new music for 2024, starting with this dynamite R’n’B 45.

Mammoth Penguins are a 3-piece indie powerhouse, showcasing the songwriting and vocal talents of Emma Kupa (Standard Fare) backed up by the noisiest rhythm section in indie pop. May 2024 sees the release of their fourth album Here on Fika Recordings. After 2019’s big, bold and confident There’s No Fight We Can’t Both Win, and the initial shock of the global pandemic cancelling a trip to SXSW in 2020, the band returned to the studio in the summer of 2021 to start recording. The new record leans into a raw pop-punk power-trio sound more than ever, with a deep growl in layered guitars and bursts of percussion and harmony. The songs and artwork explore themes about finding a place for yourself and familiarity with people and places. Although it turns back towards a classic three-piece sound, the band weren’t restricted by that palette, adding finishing touches of percussion, extra guitars and backing vocals in short bursts in a garden shed, and also bringing in gorgeous strings to sweeten the title track. The sound builds on the band’s first album, Hide and Seek, which was released with the much-loved and sorely missed Fortuna POP! in 2015. The follow-up LP John Doe in 2017 was an ambitious concept album, exploring the feelings of loss and anger at a man who fakes his own death only to return years later, expanding well beyond the 3-piece rock‘n’roll template, with washes of strings, synths and samples. The ‘Penguins have been smashing it at some high-profile support slots in the lead up to this album release, including at Allo Darlin’s joyous reunion at Islington Assembly Hall (Oct 2023) and Muncie Girls last ever London show (Dec 2023). They play the Leicester Indiepop all-dayer and Wales Goes Pop in March, before heading out on tour in support of the new album in May. Those big singalong choruses need your voice shouting back from the crowd with joy and defiance. Mammoth Penguins are Emma Kupa (guitar, vocals), Mark Boxall (bass, vocals) and Tom Barden (drums, vocals). Reminiscent of the pop melodies of The Beths, the indie dissonance of Land of Talk, and the guitar forward slacker rock of Weezer, Mammoth Penguins marry heart-ache indiepop with spiky guitars and Emma’s frank confessional songwriting. “wonderfully awkward indie pop with a literate flair, sounding a lot like a Weezer record or even a more feminine Wedding Present” Clash // “eminently relatable earworms” Brooklyn Vegan // “one of the finest examples of simple and true indie rock around” All Music // “her characterful voice still carrying masses of charm and the messier, grungey approach bringing a strength all of its own, aided by a clutch of cheerful hooks and riffs that contrast nicely with lyrics dealing mostly with heartbreak and misery” Drowned In Sound

Warehouse Find!

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Per WIBERG war als musikalischer Alchemist im Laufe der Jahrzehnte an einigen Klassikern seiner Ex-Bands und Kollabopartnern beteiligt, darunter von Opeth, Spiritual Beggars, Candlemass, The Bakerton Group/Clutch, Switchblade und Kamchatka. Als Soloartist enthüllt er unerforschte Klangwelten, die etablierte Paradigmen des traditionellen Progrock mit temperamentvollen Wendungen dunkler Töne verbinden. Auf "The Serpent's Here" setzt er diesen Weg mit 6 mitreissenden Tracks fort, die zugleich düster und surreal, luftig und doch bedrohlich sind. WIBERG malt lebendige Klangteppiche mit klugem Gespür für Dynamik und nachdenklicher Lyrik. Jeder Song bewegt sich mit verführerischer Subtilität und Spannung, nicht unähnlich den Konventionen des klassischen Film Noir. Und obwohl WIBERG weit von traditionellen musikalischen Konstrukten abweicht, ist sein Schaffen von einer unausweichlichen Melodik und Eingängigkeit geprägt, die selbst seine experimentellsten Zaubertricks nahtlos zugänglich machen.

An unreleased gem from the Come Around and Love Me sessions, "Here to Stay" is a gorgeously breezy ballad that will most definitely appeal to fans of the sweet soul output from our Penrose imprint.

Stephen EvEns highly anticipated new album Here Come the Lights is set for release, March 29, the album is self-produced and mastered with Sean McGee (Abbey Road) will be released via Onomatopoeia (Hurtling, William D. Drake, Crayola Lectern). The album celebrates the recent success of his limited-edition vinyl only release, Smoking Is Cool (recorded with Steve Albini). Here Come The Lights takes a step into the future, as folk-art tales are interspersed with psych rock magic and post-punk sensibilities amidst swooping and motoric guitars, sound effects and metronomic happenings, in this rich tapestry of life. A Song For Europe teases, cracking, and fizzing onto our radar, this ‘love affair to Europe’ is a celebration of a continent and moments in time, complete with virtuoso guitar, full backing choir and grunge atmospherics. Firefly has a pure folk aesthetic, sound effects, symphonies, and percussion combine in a call to find one’s true strength. BBQ Head picks-up more of a groove, interspersed with rapping style lyrics fused with the fuzzy intermission of 7 Bells. Lazy Eyes takes on a more mournful and melancholic hue, depicting a couple’s evasive looks over dinner, as they avoid the elephant in the room, cracks into a soaring space-rock ending. A Tree takes us on a kaleidoscopic journey into the forest, as EvEns takes a moment out from modern life, where he and his dog Rudy escape into the autumnal wilderness. A Bee takes on a more high glam Roxy Music appeal meets 70s novelty pop, fun and exhilarating. The album is polished off with a song of hope called Happy New Year, metronomic beginnings, gentle Hammond orchestrations weigh-up the importance of friendship and the meaning of success. Multi-instrumentalist and talented musician Stephen EvEns tours with his own guitar and full band line-up. The album welcomes a whole host of Brixton Hill Studios collaborators, accompanied by former Echobelly/Curve bassist Debbie Smith, Cardiacs alumni Bob Leith and William D. Drake, and Hurtling guitarist and sometime My Bloody Valentine keyboard player Jenny Macro, Stephen EvEns plays live at The Lexington, alongside labelmates from Onomatopoeia

Wolfgang Tillmans’ latest album, Build from Here, is driven by a desire to explore and to expose. It navigates joy and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable beats. Tillmans’ voice, whether growling and confrontational or tender and stripped down, maintains its prominence throughout, serving as the album's core.

Babehoven’s previous album, "Light Moving Time" — lauded by Pitchfork as a blend of the “diaristic and philosophical, disarming and inviting, introspective and far-reaching” — was released on October 28, 2022. The Hudson-based duo makes a triumphant return with their latest album, "Water's Here In You", set to release everywhere on April 26th, 2023. The album journeys through the indie folk landscape they had previously etched out, now adorned with touches of eerie, atmospheric, and occasionally dissociative tones. Singer-songwriter Maya Bon and long-time collaborator and producer Ryan Albert paint a canvas weaving in and out of drony darkness and sunny folk moments

Here In, Absence" ("Here, In Absence" for the book) is the result of the dialogue between the Finnish photographer Mikael Siirilä and the music artists The Humble Bee & Offthesky initiated by IIKKI, between March 2023 and January 2024.

After a first release in 2019 on IIKKI ("All Other Voices Gone, Only Yours Remains"), a second one in 2020 on LAAPS ("We Were The Hum Of Dreams"), Craig Tattersall (The Humble Bee) and Jason Corder (Offthesky) come back with a third stunning out-of-time beauty, paired with the Mikael Siirilä photography works.

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 16 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.

Jason Corder is experimental-ambient multimedia artist based in Denver, CO. He has been producing music, video art, audio software, and the occasional interactive sound sculpture, for over 20 years. He teaches private courses on generative music and occasionally lectures on various sound design topics at Denver University. He currently is the Audio Director at the Denver based videogame studio Dire Wolf. Over the years, he has worked with labels such as Home Normal, 12k's term, Facture, LAAPS and more. Over the years he has performed at Mutek, Decibel, Communikey and other festivals, sharing the bill with likeminded artists Pole, Matmos, William Basinski, and more.

Mikael Siirilä: "I am a darkroom artist (b. 1978) based in Helsinki, Finland. My small individual photographs examine the themes of absence, presence and outsiderhood. My characters appear immersed in their inner worlds and moments of being: simultaneously absent and intensely present. The pictures also reveal the outsider’s gaze, lost in observation and reflection. My pictures are true observations captured with minimal interaction with the subjects. Their origin is in the act of looking, and they feel causally connected to the world. The craft of printmaking is inseparable from my artistic expression. I work solely with black & white film and the darkroom. The slow, contemplative process lends the pictures a calmness. I make physical pictures I want to stare at, feel and become lost in. Again and again."

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Lynx 150g/m2 // 80 pages, 18cm x 24cm, 51 photos // Logo and slot embossed // Selective UV varnish // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

2024 heißt es 20 JAHRE CHINESE MAN (RECORDS)! Das aus Südfrankreich stammende Trio Chinese Man (bestehend aus High Ku, Matteo & Sly) tritt seit seiner ersten VÖ unabhängig unter der Fahne des eigenen Label Chinese Man Records auf. Gegründet 2004, beziehen sie ihre Einflüsse vor allem aus dem Hip-Hop, Trip-Hop, aber auch aus Dub, Electro und Reggae. Mit über 600 Shows weltweit im Rücken, kehrt die Band 2024 für ihrem dritten richtigem Album zurück, eund einer explosiven Live-Show. Dieses neue Album wurde in den Studios des Labels in Marseille sowie in Paris, im Studio Zarma und im berühmten Studio Ferber in Paris aufgenommen, insbesondere mit dem Orchester "L'Ensemble Hors Champ". Die Leitung des Orchesters wurde Gilles Alonzo anvertraut, einem der Gruppe nahestehenden Musiker, der die Orchesterparts für sechs der 13 Titel des Albums mitkomponiert und arrangiert hat. Zu den Gästen des Albums gehören z.B. General Elektriks, KT Gorique, Stylo G, Isadora, Youthstar & Miscellaneous, FP & Green T (ASM) und Stogie T. Die Gruppe hat außerdem Ferdinand Lemoine für Bläserarrangements eingeladen. Lemoine hat bereits mit dem Funk-Produzenten Dabeull und der Pianistin Sofiane Pamart zusammengearbeitet. Wie schon bei ihrem ersten Album vor zehn Jahren hat die Gruppe beschlossen, Sodi (Studio Zarma) für die Koproduktion und den Mix des neuen Albums sowie Antoine Chabert (Studio Chab) für das Mastering zu engagieren. Die Gruppe kehrt mit dem Wunsch zurück, ihr Album einem erneut größeren Publikum zu präsentieren. Drei Vorab-Singles bereiten dafür bereits den Weg.Doppel-LP (schwarzes Vinyl) sowie CD!

repress !


Das Ambient Jazz Ensemble liefert mit "Suite Shop Reworks" elektronische Upbeat-Dancefloor-Versionen seines gleichnamigen Albums aus 2014. Mastermind des AJE ist der Filmkomponist und Musikproduzent Colin Baldry, ihm zur Seite stehen Topmusiker wie Neil Cowley (Adele, Brand New Heavies), Finn Peters (Chick Corea) oder Nichol Thomson (Jamie Cullum). Gemastert wurde das Album von Guy Davie (Jon Hopkins, FKA Twigs, Jamie T) am Mischpult von Fela Kuti in Lagos, Nigeria.

Limited To 140 Copies Worldwide*

This is the first release by Essex warrior Diplomat, who would later go on to making some serious noise on the hardcore/gabba label Deathchant as well as running Electro Avenue Records. He is still at the top of his game when it comes to production, recently releasing two EP’s on the Vinyl Fanatiks sister label, Amen Brother.

This EP originally came out on Vinyl Fanatiks in 2020, just as the whole covid thing happened. Due to everyone being at home, the record sold out quickly and only a box was saved for distribution at the time. A proper slice of UK hardcore rave – intense, plenty of stabs and crazy samples with a good dishing out of hip hop vocals. This one really is for the 1993 heavy stompers, a classic slice of the nice. Originally released in 1993 on Diplomat’s Immunity Records.

Only 140 have been pressed on 180g pink marbled vinyl.

Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside.

Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP.

For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener "Blues Run The Game" to the stunning melancholy of "Milk And Honey," Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut.

"Back in the 1990s original Verve pressings of this record were hot items pushed into prominence in great part by write-ups in The Absolute Sound, particularly by my friend Frank Doris. I found a few, and even a few in pretty good condition, but none of them begin to compare to this double 45 RPM set that offers more of everything, particularly transparency and instrumental separation. ...Ella's on a microphone with a slightly rising high end but if it sounds icy, don't blame the recording or the mastering. It's your system. If it's well-balanced and your cartridge is a good tracker, the vocal transparency and clarity are spooky and the sibilant articulation is precise. These double LPs cut at Sterling Sound use the original tapes, not copies of the original tapes and the clarity and transparency coupled with QRP's drop-dead silent pressings are remarkable. The original pre-MGM buyout LP has a pleasingly nostalgic quality and the added warmth produces a bit more room sound, but in my opinion it can't compare to this reissue unless you like hearing things through rose-tinted loudspeakers. Elegantly produced, arranged and recorded and easy to recommend ..." Music = 9/11; Sound = 9/11 - Michael Fremer, February 15, 2013.

Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 - played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz.

Kendra is excited to release a new 45, featuring a special a bonus track written and recorded during the 'I Am What I'm Waiting For' sessions, as well as a new 45-edit of her instant classic 'Birthday Song.' The A-side 'Fine Right Here,' the bonus cut from Kendra Morris's brand new LP 'I Am What I'm Waiting For' (which has received incredible support from the likes of Rolling Stone France, KCRW, WNYC, Flood Magazine, and countless others), takes a look into the deeply introverted side of Kendra. "This song is about being ok just sitting inside and missing the party," Kendra explains. "It's the antithesis to FOMO." Written to accompany a rainy day, the song feels like you're being enveloped in a hug. Sonically, the track tips its hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears. The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards. Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen.

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen. Other Woes Are Yet To Come Edition (single colored (pink) vinyl, ltd to 220 copies ww)

Das Glasgower Indie-Jangle-Pop-Quartett The Plastic Youth verbindet psychedelische Untertöne mit zuckersüßen Melodien, um etwas Nostalgisches und doch Frisches zu schaffen. Produziert von Gerry Love (Teenage Fanclub) und Ross Cameron (Riverside Studio), ist ihr Debütalbum eine jugendliche Interpretation von Melodie und Harmonie der 60er Jahre, ein Hauch glückseliger Luft, eine neue Perspektive. Und als Bestandteil der schottischen Kultur ein Angebot von unverwechselbarem Indie-Charme über die Glasgower Musikszene hinaus.

The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.

The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate