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Hannah Zhalih Mickunas is a multidisciplinary artist currently living on the Northern California coast. After a first album recorded for eilean rec. in 2018, she comes back 3 years later on LAAPS with her second LP, "They Call".

All songs, voices and instruments by Hannah Zhalih Mickunas. Recorded between 2013 and 2021.

Beats/electronic by:
Michael J Collins on "Shadows from the sky", "Water", "Blue Dust"
Jake Holmen on "Like a Wave", "Seventeen", "Trouble"

Beth Navah co-wrote "Visions of Clay" and "Crying like a Lamp"

These 2 tracks were part of the groups recordings with DC International and did not see the light until Numero released a EP of the groups best songs.Soul-Direction Records have secured the only 7" vinyl release of "P's and Q's and the instrumental version.

Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.

These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”

But the studio records are just the tip of the iceberg.

You see, in a live setting Forsyth’s music is never really finished.

He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.

Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.

But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.

Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.

As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).

This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

On “First Flight REDUX,” Dave Harrington takes a scalpel to the multi-tracks of "First Flight" (LP/DL, Algorithm Free) remixing the raw material into something else entirely.

Originally recorded live at Nublu, September 20, 2019, "First Flight" documents the first and (thus far) only meeting of Chris Forsyth, Dave Harrington, Ryan Jewell, and Spencer Zahn as part of Forsyth's residency at the club that month.

Harrington's dub, created in his Los Angeles studio uses the original tracks improvised live by the group and incorporates loops and samples plus a variety of additional keys and synths, bass guitar, percussion, congas, pedal steel, bamboo flute, the Turkish stringed instrument cümbüş, and the North African double reed instrument ghaita, all played by Harrington himself.

While the light of the original performance recognizably shines through the canopy of new sounds in certain places, “First Flight REDUX” is radically reconstructed into something totally NEW. It’s very much its own album, related to and derived from “First Flight,” yes, but venturing into areas unforeseen in the original document, suggesting some kind of a party with “Live/Evil” blasting on one set of speakers,“Midnite Vultures” on another, and a Turkish psych band jamming in between.

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

The Fabulous Counts were originally a teenage instrumental group of five musicians, Mose Davis (Organ and Piano), Demetrius ‘Demo’ Gates (Alto Saxophone and vocals), Jim White (Tenor Sax), Andrew T. Gibson (Drums) and Raoul Keith Mangrum (Percussion and Flute) who were later joined by the older, more experience Leroy Emanuel (Guitar and vocals). Emmanuel was invited into the group as it’s band leader by the groups manager Fred McClure, a former Detroit boxing champion who also happened to be the manager of another popular Detroit group the singing Metro’s of the hit recording “Sweetest One” fame and their subsequent respected RCA album of the same name. The Fabulous Counts would often perform at shows as the Metro’s backing band.

The Fabulous Counts first big break came after knocking several Detroit Record labels doors. They were eventually invited in by Ollie McLaughlin’s Moira studio to record, under the tutelage of Popcorn Wylie the one take hit “Jan, Jan (Moira-103). A further two Moira 45’s followed of which “Get Down People/Lunar Funk “(Moira-108) also scored high on the R&B charts. Through a deal arranged by McLaughlin The Counts released their respected “Jan, Jan” album on the Atlantic distributed Cotillion label in 1969. Moving on to Armen Boladian’s Westbound label, during 1970 the group simply changed their name to The Counts and charted with their 1971 “What’s Up Front” Westbound album, also releasing a solitary 45 “Thinking Single/Why Not Start All Over Again”. In 1972 while still part of the Westbound set up The Counts recorded two major label 45’s under the pseudonyms of Bad Smoke “Crawl Ya’ll Part 1&2” (Chess-2124) and Lunar Funk “Mr Penguin Part 1&2” (Bell 45-172), the latter being thier biggest hit. A subsequent move to Atlanta, GA saw The Counts sign with Michael Thevis’s Aware records where they recorded a further two successful albums “Love Sign” (1973) and “Funk Pump” (1975), plus a string of 45’s. In 1976 although officially never breaking up The Counts members went their separate ways to explore different life opportunity’s.



During 1978 and while still in Atlanta Leroy Emanuel borrowed money from his family and reuniting with his fellow Counts, Mose, Demo, and Jimmy Jackson Jr, they, accompanied by a local strings section recorded a session of material that spawned two songs “What’s It All About” and “Motorcity”. Which Leroy later made a deal with Terry Mendelson to release on a 45 on his TM label. The Counts had previously known Mendelson through his brother Bernie at Westbound. The TM 45 made very little noise with many of the copies having mispressed labels. Although later reissued and mistakenly credited as two previously unissued Westbound recordings on several latter Cd compilations it came to light that quite a few avid European soul collectors actually owned copies of this high quality, very elusive and desirable 45! With demand still seemingly high it seems a good time for Soul Junction to reissue it. The A-side, “What’s It All About” features its composer Leroy Emanuel on lead vocals with the other Counts adding to the backing chorus. The flipside of this 45 from the same session is the previously unreleased Mose Davis penned “Watch The Clock” which is more in keeping with the Counts traditional funk groove, enjoy.

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight

Clap de fin for the "Cabinet des Curiosités" : 15th and last episode of Vol.1 with The Architect.

Since last fall, Al'Tarba has been able to mix his talents with those of a beatmaker, a producer or a rapper, for hybrid experimental collaborations, composed with 4 hands or more, mixing styles and sounds. In November 2020, somewhere in France, we could hear the noise of some machines breaking a silence of lead, due to the general fever of the cultural scene. In a studio-laboratory looking like a "Cabinet des Curiosités", where far-fetched ideas are piled up on as many dusted shelves, Al'Tarba and his instruments were still running at full speed.

Anxious to find the antidote, a handful of beatmakers, producers and rappers, all gathered under the aegis of the Toulouse-based scientist, have been fine-tuning, week after week and month after month, the ingredients of their new serum. Over the seasons, they have unveiled, with regular intake, hybridizations of composed styles. Between sharing sounds, ideas, sample loops and vocal takes, like a "Cabinet des Curiosités" containing a thousand and one unusual objects.

On this foggy road and until the lightning, crossed Mounika, Structural Anomaly, Aguirre and Prometheus, Yous MC, Beus Bengal, Goomar, DeZordre, ProleteR, Degiheugi, K.D.S and Stabfinger, DJ Low Cut, DJ Nix'on, Sarbacane, Mani Deïz, Slim Paul and Grin. The day when the echo of the party is heard again in the distance, the sky is discovered the time of a new story. The clouds finally dissipate, for the last chapter of this first volume.

Between two rocks, the sea and its blue, bathed in sunlight. On the horizon, the authentic "Orange Sea" sailing in the distance. It is Al'Tarba and The Architect who arrive against all odds, to tell us the last story of the "Cabinet des Curiosités", first volume. The Architect, overproductive beatmaker and informed digger, knows how to take his audience on a journey through the world and styles. A last collaboration which promises the great crossing, its hot and ardent breath like fire, bell sound of the beginning of summer found and its epics.

Melancholy of a past world and dreamlike flights of fancy, hope of the world after, will rub shoulders in a double-vinyl album that will bring together the entire adventure. Pre-orders are now open !

So many bright perspectives, which would even let us foreshadow a forthcoming release of Al'Tarba's second solo album on I.O.T Records: "La Fin des Contes".

In the afterglow of her acclaimed 2020 album Silver Ladders, Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015- 2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017 tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore's archives together for the first time. Lattimore has described the process of arranging these releases as akin to "opening a box filled with memories," and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. Opening the cassette version is "Mary, You Were Wrong," which mirrors an author's bout with a broken heart. "It's about how you have to keep on going even if you make some mistakes," she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. Unreleased track "Sleeping Deer" came together during Lattimore's artist residency on a cattle ranch in Wyoming. She remembers, "a small deer whose mother I think had been run over by a car would hang out in the yard. I called him Lollipop and would leave vegetable scraps out." Lollipop returned daily to eat, rest, and wait for more. The music this vision inspired is patient and droning, with light plucks giving way to deeper, vibrating tones, permeating with a sense of anticipation. Next is a newer single, "We Wave From Our Boats," which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. "I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you're compelled to wave at people on the other boat when you're on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural." The heart of the track is a somber loop, over top which Lattimore's synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. Also recorded in 2020, "What The Living Do" is inspired by Marie Howe's poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. "Princess Nicotine (1909)" scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton's surreal silent film Princess Nicotine; or, the Smoke Fairy. She adopted the same approach for "Polly of the Circus," explaining it was the name of one of the old silent films discovered in permafrost in the Yukon featured in the documentary Dawson City: Frozen Time, "the only copy that survived and it kind of warped in the aging process." A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. Like her most affecting work, these songs showcase Lattimore's gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance.

With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.

Green Gold Vnyl

With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.

Clear Gold Vnyl

With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

Quentin Tarantino’s WWII film “Inglourious Basterds” was released in 2009 to both critical and commercial acclaim. The movie won multiple awards including an Academy Award, BAFTA, Screen Actors Guild and Golden Globe and, like all of Tarantino’s movies the soundtrack played a pivotal role. QUENTIN TARANTINO'S INGLOURIOUS BASTERDS: MOTION PICTURE SOUNDTRACK – which itself was nominated for a Grammy Award – is a mixture of score from legendary Hollywood composer Ennio Morricone and a selection of quirky rare tracks, amongst them David Bowie’s theme from the 1982 film Cat People. It will be available on blood red translucent vinyl.

Complet label owner and Berlin based DJ and producer Ray Kandinski has been making serious moves over the last few years, both through his ear for curation and his rich, intricate sound design. Inspired by a pool of influences, including; jungle, footwork and house - Kandinski believes the beauty of dance music can be found in its subtlety and range; which can be heard deeply running throughout his debut EP for Lobster Theremin.

A ray of sunshine shines through sparse breakbeats in opening track ‘95’, before ‘No Love’ follows with a slightly more clubier affair, while still maintaining it's blissful edge through the use of lush and dynamic synth work. ‘Healing’ then closes the A side with it’s minimal grooves, both hypnotic and understated; light refracting from one medium to another in a colourful display of blue and green.

The B side makes its entrance with ‘Zonin’ a choppy house cut with a point to prove, before demonstrating his artistic versatility in ‘The Mack’ blending his way into an electro mutation laced with ravey stabs and punchy drums, combining various influences from around the globe.

Title track ‘Garant’ takes place in a quasi-rainforest beckoned by nature's call. The type of good-natured music that sounds inspired by the evolving world around us; locking us in a groove that could happily last forever.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

UNRELEASED TRACKS *

Echo & The Bunnymen formed in Liverpool back in 1978, with Ian McCulloch on vocals, Will Sergeant on guitar, bassist Les Pattinson with Pete De Freitas on drums. Their first release came in the form of the single The Pictures On My Wall, with the B-side Read It In Books. Both tracks would appear on their debut album Crocodiles, released in 1980. Released amid the growing wave of post-punk, Crocodiles cemented the band amongst the best around, with the NME at the time describing it as “probably the best album this year by a British band” and featuring amongst many greatest ever debut album lists.

The lead single from the album, Rescue, was produced by Ian Broudie who would later produce more Echo & The Bunnymen material, as well as later forming The Lightning Seeds in 1989. The single would enter the UK charts, with the album breaking into the top 20 and going on to be certified Gold. The original cover was shot by Brian Griffin near Rickmansworth, Hertfordshire. The atmospheric, moody aura of the sleeve sets the tone for quintessential post-punk.

Echo & The Bunnymen first released the single The Back Of Love in 1982, nearly nine months before the album’s release in 1983. It became the band’s first UK top 20 single as well as charting in Ireland. It led to the release of Porcupine in 1983, with Ian Broudie, who would later form The Lightning Seeds, returning to production duties having co-produced their debut album Crocodiles.



Initially rejected by the band’s label, the album was re-recorded with Indian violinist, singer and composer Lakshminarayana Shankar, who added strings to the tracks. The result was their greatest chart performance, with The Cutter reaching #8 in the singles charts and Porcupine finishing #2 in the album charts and went on to be certified Gold. Porcupine featured on many end of year critics’ lists, with their single The Cutter still remaining highly popular to this day.

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

Over nearly 20 years, Howlin Rain may have become the quintessential independent American rock ’n roll band: a steam-spitting Hydra of cranked guitars, kicking asphalt dust through a kaleidoscoping travelogue of desert motels and dives, volleying forth transmissions of sci-fi poetry from the blacktop veins of this cracked and aching country.

Now, in America 2021, capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm of exaggerated present.

“I wanted The Dharma Wheel to be a portal from our everyday world, the one from which you stand on hard ground and hold the album in your hands and peer into the artwork, and into another universe,” says songwriter, guitarist and vocalist, Ethan Miller. “You enter into that universe with your eyes and ears and mind and take a ride through free-form meditation on these ideas — from big, fundamental concepts about our existence right down to the grease that rolls down the arm of a pulp novel killer as he eats a gas station hot dog in an old Dodge in an alleyway.”

Lyrically, Miller has completed his evolution into a mushroom-plucking Whitman of the West, singing outlandish tales in a topographic blend of Humbead’s Revised Map of the World and an inverted U.S. where downtrodden bodhisattvas roam the back streets and moonless country roads.

“Down in Florida swamps, run by nature’s law, standing in the water, Eden gone. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.” — ‘Under the Wheels.’

The band, Jeff McElroy (bass, backing vocals), Justin Smith (drums/percussion, backing vocals) and Dan Cervantes (guitar, backing vocals), again sounds hardwired into Miller’s vision, building tracks that swagger and sway in response to his verse. Lending a hand this time around is the legendary Scarlet Rivera (Bob Dylan’s Rolling Thunder Revue) on violin, and the endlessly inventive Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun) on keys.

Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage.

“The captured sonic fact about this record is that it’s the sound of a band that rehearsed this material a lot and put a ton of work into its construction and was on the road a lot and recorded on days off in the tour schedule,” Miller says. “In some cases we were on stage on Saturday night playing these songs at quarter-to-2 in the morning and by Noon the next day we were sipping coffee in the studio playing them for the machine.”

Rivera’s violin is the first sound heard as the album dawns on the instrumental “Prelude.” Soon, the band joins, twirling the theme into a psychedelicized awakening. “Don’t Let the Tears” brings the boogie, with MacDougall’s madcap synth work and wah-wah guitars showering 70’s glitter upon a parquet dance floor of the mind. “Under the Wheels” and “Rotoscope” center the album with taut, compositional epics populated by murdering drifters and fuzz pedal explosions. The blue hour comedown of “Annabelle” meditates upon the weariness of lost love, with Rivera again amping the heartache via her violin strings.

“In the evening the trains go by, and shake the dust from dirty walls, sometimes I feel like a spider in an old mason jar, who threatens only convex light from down the hall. I’ve been lost to the world since the photos of the black hole, landed on my desktop screaming, perhaps the all and nothing all-in-one is just too much to take, for particles and matter that never found their way.” — ‘Annabelle’

The record closes with the 16-minute title track, a multi-movement suite which cycles from Crazy Horse-meets-Traffic jams through colossal, mass-moving funk stomp, eventually cresting and washing into a sing-along gospel lament.

The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. As illustrated in Arik Roper’s cover art, the grand dharmachakra has been set in motion, churning off the California coast.

“We were trying to build a world big enough that the imagination won’t go soft on you after just a few listens and where our love for this music, and music in general — along with a good dose of audacity — create a magic carpet ride through the world of The Dharma Wheel,” Miller continues. “In pursuing that I think we also managed to make a record that has a lot of joy in it: the joy of playing music, the joy of experiencing music, the joy of storytelling and poetry, the kind of singular joy and extended ecstatic moment that only a real ‘band’ can express in just that way.”

And it’s this joy, this exuberance and dedication to the lines of cosmic expression — all centered in the exalted art of the everyday — that constructs the heart of the record. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now.”

On Now Where Were We, The Exbats hit the ground running like
a dystopian garage rock version of the Shangri-Las, or like
a message to the future from the pre-Velvet Underground doowop
wannabe Lou Reed. The album rings bright, like a beacon
in the wilderness: eminently, effortlessly catchy, and loaded
with buoyant choruses that rank alongside the best chart-toppers
launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer
Inez McClain, formed the nucleus of the Exbats over a decade
ago, when Inez was just 10 years old; today, Bobby Carlson
rounds out the group on bass. Despite their remote location in
Bisbee, Arizona, just eleven miles north of the U.S.-Mexican
border, the group quickly racked up accolades citing a wealth of
influences that run from cartoon quintet the Archies to punk rock
originators the Avengers, and from the so-sweet-it-hurts 1910
Fruitgum Company to Los Angeles antiheroes the Weirdos.
Truthfully, The Exbats embrace a wider swath of musical styles,
incorporating blue-eyed soul, tongue-in-cheek country, Brit
pop, psych, and R&B into their sound.
The McClains describe this album as “more ambitious” than
its predecessors. They tooled ninety minutes northeast to Tucson
to record, per usual, with Matt Rendon at Midtown Island Studios.
Months later, the Exbats emerged with an album imbued
with harmoniously cautious optimism—the musical equivalent
but psychological antithesis to the Brian Wilson-Tony Asher
masterpiece “I Just Wasn’t Made For These Times.” While Wilson
was looking for “a place to fit in,” The Exbats have found
sanctuary via the brilliant “Ghost In The Record Store,” which
is “for all of us who need the joy of a little bit of plastic making
lots of noise.” Like the best records to croon along with, Now
Where Were We is captivatingly simple, yet hardly simplistic.
The Exbats are singing from their hearts—and they aren’t afraid
to bare their souls.

The Pineapple Thief, are one of the leading lights of Europe’s experimental rock domain, led by post-progressive mastermind Bruce Soord & reinforced by Gavin Harrison (King Crimson) on drums.
Following the release of their latest studio album ‘Versions Of The Truth’ in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists, their plans were put on hold by the continuing global pandemic.
Eager to still perform & connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled ‘Nothing But The Truth’ directed by band videographer George Laycock (Blacktide Phonic/Visual).
Bruce Soord explains” “The Pineapple Thief is equally about the studio & the stage, so it was hugely disappointing that we were unable to tour, especially as we were excited to be able to perform the
new album ‘Versions Of The Truth’ live for everyone. Being able to do this film, especially under the circumstances, was invaluable. We all knew we did not want to shoot a film of us standing on stage staring at an empty room. We wanted something special, something ‘cinematic’ so we have created something unique & something very, very special that I am proud to have been a part of. I can’t wait for people to hear it.”
Drummer, Gavin Harrison adds “Nothing But The Truth” is a highlight for this band in terms of captured performance.
The Pineapple Thief’s 2018 anthemic release ‘Dissolution’ garnered worldwide acclaim from both media & fans, earning them their first UK Top 40 album, #1 UK Rock & Metal album & #22 on the German album charts. It took them on two extensive sold-out European headline tours & their first ever tour of North America.
‘Versions Of The Truth’ raised the standard yet again by delivering, quite possibly, one of the most important rock albums of 2020.
‘Nothing But The Truth’ captures The Pineapple Thief at their very best performing songs from their illustrious catalogue including for the first time live, songs from ‘Versions Of The Truth’.
The release will coincide with the rescheduled UK & European live shows this autumn & continue into 2022 with more dates to be announced.
The soundtrack to ‘Nothing But The Truth’ will be released on a gatefold black vinyl double LP with an 8-page printed colour booklet.

The Velveteers, ein Rock-Trio aus den Bergen von Boulder, CO, bestehend aus Sängerin/Gitarristin Demi
Demitro und den Schlagzeugern Baby Pottersmith und Jonny Fig, werden am 8. Oktober ihr Debütalbum
”Nightmare Daydream” über Easy Eye Sound-Concord veröffentlichen; Produziert von Grammy-Preisträger
Dan Auerbach, ist das Album das lang erwartete erste Statement einer Band, die sich 2014 gründete und
seither sorgfältig an ihrem Sound und ihrer Identität gefeilt hat.
Aufgewachsen in Boulder, rebellierte Demitro durch ihre Gitarre, übte bis zu neun Stunden am Tag und
vernachlässigte die Schule, um einen Spielstil zu entwickeln, der schwer, aber beweglich ist, theatralisch,
aber nuanciert, in der Rockgeschichte verwurzelt, aber völlig eigenwillig. Mit Pottersmith und Fig, die
an einem gemeinsamen Drum-Set spielten, entwickelte die Band einen Ruf für ihre mitreißenden Auftritte.
Clips von den Live-Shows und DIY-Videos der Band schafften es bis zu Auerbach, der sie in sein Studio in
Nashville einlud, um ”Nightmare Daydream” zu produzieren.
”Ich mochte sie sofort”, sagt Auerbach. ”Sie sind live unglaublich, und ihre Videos sind so kreativ. Und
sie klingen einfach so kraftvoll. Jedes Mal, wenn man Schlagzeug auf einer Platte doppelspurig aufnimmt, klingt es so heavy. Wenn man das dann noch mit Demitros Baritongitarre kombiniert, klingt es so
bombastisch. Es gibt nichts Vergleichbares.”

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of David Tudor's legendary LP, "Microphone", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Still mind-blowing nearly half a century after it was first released, now complete with a new English translation of the album's original liner notes, this is just about as exciting as reissues come and not to be missed.

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Costin Miereanu's "Luna Cinese", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Easily one of the most singular and important experimental albums of the 1970s that remains as engrossing, creatively riveting, and as ahead of its time today as it was in 1975, this is as exciting as reissues come. Complete with new English translation of their original liner notes, it can't be missed!

As escapism from corporate banality turned the corner in the `90s, a new generation of vibrant, software generated soundscapes emerged. Communal access to the internet propagated the new hive mind of ideas online, giving way to smoother, stress-free textures. The PC revolution opened the gateway to ray-traced playgrounds of color and light, allowing for visions of utopic proportions to manifest themselves on screensavers far and wide. Boot up your machine, load the software on this floppy diskette, and drop out of a reality bounded by the physical laws of the universe. Numero 95 is the soundtrack to the screen saver fever dream we're all trying to climb back into. Eight droplets of proto-vaporwave, synthesized in vinyl (or digital) form, fresh from Numero's archive of forgotten sounds. Are you looking for that half way point between smooth jazz and new age? Mac and PC? Quantum Leap and the X-Files? This software is for you. Housed in a replica floppy diskette, Numero 95 explores an early computer music unbound by scene or region. Eight solo pioneers vibing out at home in their headphones, traveling as far as the sound card would allow. This is music that barely escaped the hard drive and yet percolates at the edges of the algorithm 30 years later. Welcome to Numero 95.

Lo! Soul’ is the fifth solo album from Roddy Woomble, following on from
his acclaimed debut, ‘My Secret Is My Silence’ (2006), ‘The Impossible Song
& Other Songs’ (2011), ‘Listen To Keep’ (2013) and ‘The Deluder’ (2017).
The record sees Woomble continue his unique and restless trajectory, gently
stepping away from his previous acoustic/folk intentions in favour of a more
explorative light, prevalent on 2020’s ‘Everyday Sun’ EP, which featured largely
spoken word pieces over an ambient, mediative soundtrack.
Produced and mixed by collaborator and Idlewild bandmate Andrew Mitchell (aka Andrew Wasylyk), ‘Lo! Soul’ was recorded remotely between Roddy’s
home in the Hebrides and Andrew’s studio in Dundee throughout 2020 while
Scotland was locked-down.
Roddy explains: “Andrew describes moments of the album as ‘Dystopian-pop’
which I think is as good a description as any. Lockdown gave me the sense of
a collective melancholy, a shared remoteness and isolation - that has been a
guiding influence throughout all the songs. It is the most unusual record I have
made, and made in the most unusual way.”
Across his twenty-five year career, ‘Lo! Soul’ may well be Woomble’s most inventive, creative album to date. From undulating synths and ambient soundscapes in the abstract narratives of ‘Atlantic Photography’ and ‘Secret Show’,
the sun-tinged horns of ‘Architecture in LA’, a mellifluous Mellotron or perhaps
a piano chime. Here, the path is embedded with Roddy’s words delicately unearthing the known and never known.

Gazelle Twin’s incredible electronic score to horror
film ‘Nocturne’, released as part of Amazon’s
‘Welcome To The Blumhouse’ series.
 The score is pressed on clear vinyl and housed in
a deluxe spined sleeve with digital download card
included.
 “The director wanted there to be a strong
appearance of feminine rage featuring heavily in
the score, building around the classical pieces,”
says Gazelle Twin. “She wanted to use some of
my existing tracks, ‘Unflesh’ and ‘Belly Of The
Beast’, in a couple of scenes, so I took leave from
the vocal style of ‘Unflesh’, which has a lot of
strong chest singing inspired by Bulgarian
Folksong.
 “It became a motif that the music editor, Shie
Rozow, weaved throughout the film for those
especially fierce moments. Then there’s the ‘dread
drones’ that haunt the whole score, getting more
and more intense.”

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness. Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number "Color of the Sky," which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

ANNA LEONE will release her first album, ‘I’VE FELT ALL THESE THINGS’,
produced by Paul Butler (Michael Kiwanuka, Hurray For The Riff Raff).
The debut follows Stockholm native Anna’s widely applauded debut EP ‘Wandered Away’, drawing fans at 6Music including Lauren Laverne & Guy Garvey,
alongside Ones To Watch tips from Spotify and Youtube, and over 18 million
streams online.
‘I’VE FELT ALL THESE THINGS’ is an album that explores how we close ourselves
off to the world, a feeling that has become ever-present in the sad, surreal climate of 2020, in more expansive ways. It’s also an album about how we try and
get beyond those inclinations, and how we make it through

Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota.
Known for bringing a joyful, exuberant presence to their live shows, touring
with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and
Third Eye Blind, the group took specific care to bring their fun-loving spirit
to their third LP, Walkman.
Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair
down on Walkman, bringing raucous and explosive riffs alongside witty lyrics.
Though you might not notice from their indie rock exterior, Bad Bad Hats draws
a heavy influence from classic pop songwriting that shines through in their
hooky choruses and strong melodic sensibilities.
For this release the band set out to push their capabilities as a trio. Subtle
changes in process helped the band achieve this goal, such as shifting Chris
from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. ‘You can hear all of our
musical voices a lot better on this record.’
A carefully crafted studio sound brings the record to life, injecting it with an
energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth
time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP.
Bullion and the band use the studio as an instrument, resulting in their most
polished work to date.

Dean & Britta’s Quarantine Tapes contains songs recorded at home and released digitally in 2020, covers of Kraftwerk, Bee Gees, Luna, the Clash, the
Cars, Dylan and more, with bonus track “The Carnival is Over” (originally
by the Seekers) not on the streaming release.

This building was intended to fall. The dust in all 6 rooms suspends in the air and light glitters on each particulate, a piercing bright like a headache behind the eye. Knuckles chapped like a dancer's feet, a listener survives in the building like it's a home. Makes it a home. Frantic energy holding still remains frantic. Trying to swallow, trying to catch your breath. Enough dust to settle and make the building in its exact image. Beating at the walls only makes the walls once more, 6 rooms, listening and responding. This is the sound of a space that cannot be unmade. Sorcery is permanent.

”Neon Dust describes the essence of a world just beyond reach, one we often glimpse but can’t sustain. An Ocean in which we rarely dip our feet. When writing this album, I felt in tune with something special, an energy I hadn’t previously known. I was submerged and engulfed in its creation. For me, it’s a journey beyond; into that dancing,
shimmering glow of neon dust.” - Etherwood Melodic master and drum & bass extraordinaire Etherwood makes his album
debut on Hospital Records with his fourth long player, ‘Neon Dust’, following on from the successes of his Med School works ‘In Stillness’, ‘Blue Leaves’, and ‘Etherwood’.

Across twenty tracks, expect signature liquid drum & bass and Etherwood’s own vocal performances with a fusion of folk, rock, indie-pop, techno, downtempo and ambient delights. Alongside his vast range of musical inspiration, Etherwood’s creativity is evoked through his free spirited mindset, exploring the world in his converted van, dedicated to mindfulness and meditation.

With frequent radio support from top-end tastemakers including Annie Mac, MistaJam and Charlie Tee, as well as countless club spins from the likes of Netsky, Sub Focus, Makoto, Degs and Lens, Etherwood’s hugely popular sound takes another step forward in 2021 with his most recent body of work. From topping the iTunes Electronic chart with his second album ‘Blue Leaves’ to performing his very own live session at the prestigious Maida Vale studios, you’ll also be able to find Etherwood at Hospitality Weekend In The Woods, Sundown Festival 2021, ADE Hospitality and Hospitality Bristol this yea

For our 4th original release we have a meeting of minds between two of our very close friends, Subb-an and Thoma Bulwer!

Made deep in the green countryside of Devon’s hills, before being adeptly finished off at TB Studios in Hackney Wick, the Devon Hills EP pulls together influences from 90’s tech house and early breaks to bring four driving and groove-laden tracks, functional but with heaps of soul.

The A side comprises two late night Autobahn bangers, rubbery misbehaved basslines and precise chord rhythms made to hypnotise the dance. Devon Hills is the most outspoken of the pair, with a loud chiming hook and an earwigging bleep melody, while DV-07 prefers to remain composed in its rolling bassline and sharp drum programming.

On the flip things go a little deeper with DV8, a padded out and chunky tribal breakbeat track with a deliciously crunchy snare. Closing out the four-track EP, East Wick lightens the mood with a sporadic break and bouncy synth melody, great afters tackle.