Search:lo five

The complete album - pressed on limited edition 180g vinyl

Tenor saxophonist Ben Webster (1909 - 1973) had already enjoyed a long and fruitful
career by the time this 1957 session was recorded. However, as Bob Blumenthal
explains in the original liner notes, he still wasn't known for the sensual ballad feeling
that became his trademark during the last two decades of his life. At that time, he was
still recognized for the hard blowing fast tenor sax style he played with both the Duke
Ellington Orchestra and his own multiple small groups.
Even though his repertoire was generally linked to that of Duke Ellington, this classic
Norman Granz produced session presents Webster playing four popular ballads and
two of his own bluesy compositions, Soulville and Late Date. On hand in support are
the incredible Oscar Peterson Trio (Herb Ellis, Ray Brown), and drummer Stan Levey.
"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve
label. This 1957 date with the Oscar Peterson Trio is one of the highlights of that
golden '50s run. After starting off with two bluesy originals, Webster gets to the heart
of things on five wistful ballads. Providing sympathetic counterpoint, Peterson
forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -
guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey - are equally assured
and splendid. Newcomers shouldn't hesitate to start here." - ***** Stephen Cook,
AllMusic

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo Moderna is back with his female alter ego singer Krage, for a perfect fusion of Afro-Latin and Caribbean rhythms with modern synth pop. Highly entertaining, Clever and unique blend of organic sounds, samples and vintage synths tweaking, "Daïsm" is a fun and enjoyable journey to the frontiers between electro, mento, dub, rocksteady, contemporary African rhythms and cumbia with a twist.

Certainly not your average tropical music. This new album is definitely a step up for the eccentric artist, as he's now reached the next level of mastering the fusion of genres and the art of blending organic sounds with electronic elements. Solo Moderna is one of the few “electro” artists you can immediately recognise when you hear one of his songs. In the creative process of “Daïsm”, Solo Moderna met his soulmate singer, Krage, who sings in a delightful mixture of English, French, Spanish and Jamaican Patois. Together, they found their very own way of expressing their love for nature and diversity through universal language.

Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.

The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.

Serpentskin is the dancefloor-oriented alias of Alison Lewis aka Zanias, fusing the sounds of trance and darkwave with her signature ethereal vocals and otherworldly textures to invoke a unique aural transcendence for the club environment. In her debut self-titled EP, Serpentskin presents five tracks that explore this new realm with varying degrees of euphoria and longing, from the rapturous 90sinspired ‘Basking in the Light at Heaven’s Gate’ to the melancholic pining of ‘Apparently Nothing’.

Profile 1
KONISHI yasuharu
Band leader, songwriter, arranger and producer of the now disbanded Pizzicato Five (1985- 2001). Although having 2 successful world tours and 5 international albums under his belt, with fans ranging from London’s Karminsky Experience to Karl Lagerfeld, many of his fans know him as a DJ, spinning in Tokyo’s hotspots such as Shibuya’s ‘Organ Bar’. He tours regularly throughout Japan and abroad. In the Jackson 5 Remix Album, his remix ‘I want you back (readymade 524 mix)’ received an extraordinary amount of national radio play.
The remix album itself has scored healthy rankings in major record stores. In 1998, his own project ‘Punch the Monkey!’ (in which he remixes the theme tune of a popular Japanese cartoon series ‘Lupin the Third’) sold over 700,000 records, and this, some say, began Japan’s remix rush. His achievements truly invaded the mainstream when in 2000, he produced the No.1 single ‘Oha-Rock’ which became a social phenomenon in itself. Most
recently, he set up his own record label, ‘readymade international inc.’ from he which he plans to release new exciting solo works.
His talents also embrace film and photography and he is well known as a director in promotional videos, shows and advertisements. T-shirts and original goods which Konishi personally designed are sold in select shops such as BEAMS of Shibuya.
He is also a writer having regular columns in various magazines, and has also written several books. A collection of his essays have been published under the title ‘Kore wa koi de wa nai’ (’This is not love’
)
Profile 2
IKEDA masanori (Mansfield)
Began his DJ career in London, 1991, while working in Soho’s Soul Jazz Records. After becoming resident DJ at ‘Blow-Up’ in London’s Wag Club, he has toured the country and the rest of Europe. With his friends Karminsky Experience and Gentle People, he has also organised numerous club events, compiled CDs and produced radio programs. Returning to Japan in 1997, as the DJ with the rarest records in the East, he immediately made his name Djing at many popular events up and down the country. He is recognised for rocking dancefloors on a global scale having completed a very well-received European tour in 2000.
Apart from his DJ work, he has contributed remixes for Konishi Yasuharu’s ‘Punch the Monkey!’. His solo releases include his mix CD series ‘Spin Out’ , ‘Spin Out 2’ (V2 Records Japan). His albums ‘6 Complexions of Mansfield’ and ‘It’s a mans’s man’s field’ (readymade records) released under his alias Mansfield have established his name as a sound creator. He is expecting to release a new album from readymade international early 2002. This
is the DJ/composer that everyone’s talking about.

The Helsinki-based five-piece rock band Us has been winning over British ja Japanese audiences with their unique blend of garage rock, punk, and rhythm 'n' blues. Their explosive live energy and catchy rock songs have been brilliantly captured on their debut album Underground Renaissance, originally released in the fall of 2024. Underground Renaissance is now being released on vinyl by Playground Music sublabel Lördag. In 2024 the band played nine shows at Glastonbury festival in the UK and six shows at Fuji Rock Festival in Japan. During the same year Us also released their debut album Underground Renaissance. The album has received praise from such magazines as Rolling Stone Japan, Mojo Magazine, Shindig! and Classic Rock Magazine. The songs have also enjoyed numerous plays on BBC 6 radio. In live reviews Us has been compared to early Arctic Monkeys and The Hives with Mojo Magazine describing their "blistering 3 AM show" at Glastonbury as "Dr. Feelgood-style punk-blues with the vigour of peak Ramones". In 2024 alone, Us have performed at Eurosonic and Bigpop festival (the Netherlands), Glastonbury (UK), Fuji Rock (Japan), Sziget Festival (Hungary), and Transmusicales (France), as well as headline a run of UK dates.

Band leader, songwriter, arranger and producer of the now disbanded Pizzicato Five (1985-2001). Although having 2 successful world tours and 5 international albums under his belt, with fans ranging from London’s Karminsky Experience to Karl Lagerfeld, many of his fans know him as a DJ, spinning in Tokyo’s hotspots such as Shibuya’s ‘Organ Bar’. He tours regularly throughout Japan and abroad. In the Jackson 5 Remix Album, his remix ‘I want you back (readymade 524 mix)’ received an extraordinary amount of national radio play.
The remix album itself has scored healthy rankings in major record stores. In 1998, his own project ‘Punch the Monkey!’ (in which he remixes the theme tune of a popular Japanese cartoon series ‘Lupin the Third’) sold over 700,000 records, and this, some say, began Japan’s remix rush. His achievements truly invaded the mainstream when in 2000, he produced the No.1 single ‘Oha-Rock’ which became a social phenomenon in itself. Most
recently, he set up his own record label, ‘readymade international inc.’ from he which he plans to release new exciting solo works.
His talents also embrace film and photography and he is well known as a director in promotional videos, shows and advertisements. T-shirts and original goods which Konishi personally designed are sold in select shops such as BEAMS of Shibuya.
He is also a writer having regular columns in various magazines, and has also written several books. A collection of his essays have been published under the title ‘Kore wa koi de wa nai’ (’This is not love’)

SUNAGA tatsuo (sunaga t'experience)
DJ and Music Producer. Basing his activities around his own club ‘Shibuya Organ Bar’, holds regular club nights throughout Japan. Apart from his own mix CDs such as the ‘Organ b. SUITE’ which many say is in a class of its own, has produced remixes for the ‘Soul Source 2: Jackson 5 Remix’ and Yasuharu Konishi’s ‘Punch the Monkey’. He began his own label ‘AFTERS OR’ in 1998,acting both as artist and producer. Releasing records under the alias of ‘Sunaga t experience’ on avex/cutting edge records, the ‘It’s you’ 12 inch made record sales of 7,000 records, an incredibly large number in the vinyl market. His name is known in Europe through such labels as IRMA and SCHEMA records, and has remained in the forefront of the industry since the beginning of the Tokyo club scene.

After a five-year absence following 2020’s creative elevator-punk explosion Roundelay, Ashley Eriksson, Eli Moore, and Andrew Dorsett of LAKE return with Bucolic Gone, a mature and polished album that is at once groovy, upbeat, meditative, and slow-rolled. As LAKE’s 10th official full-length release, Bucolic Gone is a cohesive work of sophisti-pop that embodies an adult, contemporary sound—intimate, serene, mournful, and hopeful in equal measure.

The multi-instrumental trio is joined by an impressive lineup of collaborators, including guest vocalists Nicholas Krgovich on “Glad Rags” and Daisy Jaberi of Suver with original lyrics on “Love Is Deeper.” Frequent contributors also make appearances: Karl Blau delivers standout shredding on “Ferrari,” Mark Buzard of The Format provides guitar textures across multiple tracks, and New York jazz musician Eric Vanderbuilt-Matthews contributes intricate woodwind arrangements. Steve Moore (Earth, Sunn O))),

First Aid Kit, Sufjan Stevens) adds trombone to “Love Is Deeper,” while legendary Canadian singer Jenn Grant lends her unique vocals to the outro of “Ferrari.” Recorded at The Anacortes Unknown Recording Studio by longtime collaborator Nicholas Wilbur and in the band’s own home studios, Bucolic Gone marks another step forward for Eli Moore in production and mixing. His meticulous attention to arrangement and balance—alongside an arsenal of distorted “whatchamacallits”—creates a rich, layered sound. Celebrating 20 years of ethereal, yearning pop songs, LAKE’s latest effort is their most produced but also most intimate album. Now signed to Don Giovanni Records, the band is ready to continue delivering jams. While the world has changed since LAKE’s last official release, Bucolic Gone shows that time has been on their side.

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

Formed in the anonymous town of Watford, northwest of London, in 1980, atmospheric quintet Sad Lovers and Giants was part of the bourgeoning post-punk scene. With a barely perceptible undercurrent of paisley psychedelia, the group’s jangling guitars, eerie keyboards, subdued beats, and brooding vocals put them somewhere between the Chameleons, Echo and the Bunnymen and early Cure. Epic Garden Music was the debut release on Nick Ralph’s Midnight Music label and this expanded edition comes with five bonus tracks taken from their first three singles – a must for all SLG fans and post-punk devotees.

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

VENTILATEUR is an instrumental project combining sounds from the vivid worlds of contemporary jazz and postpunk. The three-piece band, consisting of Iben Stalpaert on drums, Jasper Hollevoet on bass and Daan Soenens on guitar, uses angular rhythms and flowing melodies to construct compositions that embody both contrast and cohesion. Originally from Bruges, the band currently has Ghent as its homebase.

The trio released its self-titled debut EP on 22 March 2019. VENTILATEUR won awards at Fresh Fish, Red Rock Rally and Burgrock that same year and was one of the laureates of the then brand new Sound Track. Thanks to Sound Track 2020, the band received a residency at Het Entrepot in Bruges and a year of professional coaching from VI.BE and other national players in the music landscape.

In 2020, VENTILATEUR joined forces with young Ghent theatre collective Camping Sunset for the performance Happiness. The band composed the soundtrack for the play and also performed it live during the five-week run of the production. The music was subsequently recorded and released under the title A Soundtrack For Happiness at the Brussels label Sentimental.

In 2022, VENTILATEUR released its first full-length album with W.E.R.F. Records. Hoofdplaat, titled after the village near the manor house that served as its recording location, is the result of a long process of purification. VENTILATEUR presents the essence of their sound, stripped from all ballast.

VENTILATEUR balances on the border between the ‘niche’ world of instrumental jazz and the accessible world of the pop-rock circuit. From this position, the band aims to bring instrumental music to a wider audience. Apart from being purely intrinsically artistic, the trio's ambition is to excite a new audience for cultural participation and specifically the rich genre of jazz. Through their choice of accessibility within the experimental, the band aims to form a bridge between a wider audience and a musical world still too often labelled as ‘niche’. The musicians not only focus on the club and festival circuit, but have already written soundtracks for some short film projects and are also reaching out to the theatre world.

In its early years, VENTILATEUR was mainly known within the Flemish arts landscape on the Bruges-Ghent-Brussels axis. A soundtrack for Happiness and Hoofdplaat introduced VENTILATEUR to a new audience. Songs from the albums got airtime from Radio 1, Klara and other stations, and singles appeared in national playlists. The band’s music was also picked up by VRT, which used the single Nectar during several programs. In 2023, the band scored their biggest gig yet: Ghent Jazz on a podium curated by their label, W.E.R.F. Records.

VENTILATEUR as a project can count on the support of organisations such as W.E.R.F. Records, Cactus Music Centre, Het Entrepot and VI.BE. The band also has close ties with theatre companies such as Camping Sunset, Compagnie Cecilia and Ontroerend Goed and, of course, numerous connections within the Flemish and Brussels music scene.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio

Mother’s Spiritual is the eighth studio album by New York City-born singer, songwriter, and pianist Laura Nyro. The album was originally released at the beginning of 1984, following a year of difficult and expensive recording sessions, and came more than five years after its well-received predecessor, 1978’s Nested. Thanks to a small buzz surrounding Nyro’s return to the spotlight after a period of semi-retirement, Mother’s Spiritual became her last US chart entry, reaching #182 on the Billboard 200.

Musically, the album stands out as the most serene and easygoing of all Nyro’s works, presenting a more maternal tone compared to the wilder and more experimental nature of albums like Eli and the Thirteenth Confession and New York Tendaberry. Thematically, the focus shifts from personal explorations of passion and love to broader societal concerns, such as environmentalism, motherhood, and feminism. Laura Nyro was Inducted into the Songwriters Hall of Fame in 2010 and the Rock and Roll Hall of Fame in 2012.

UK producer Smev lands on X2SEE with a scintillating five track EP - a cosmic journey characterised by
contrasting feelings and emotions, bridging the void into an alternative reality…

Anxious’ second album Bambi arrives this winter on Run For Cover Records. It’s been a whirlwind few years for the Fairfield, Connecticut five-piece – since the release of their debut album Little Green House, there’s been little time for anything other than consistent touring with bands like Hot Mulligan, One Step Closer and The Wonder Years. Somewhere during that endless grind, vocalist Grady Allen was sitting in a hotel room and stumbled upon a name typed into a long-forgotten memo on his phone: Bambi. “We should have named the band Bambi,” he recalls admitting to his bandmates. Bambi stuck with the band after that night and eventually it evolved from a “what-if” into the name of Anxious’ second full-length album.

Bambi is a record of remarkable growth, depth, ambition, and energy. It takes all the unsolvable and unavoidable problems of exiting adolescence and makes them resonate in urgent and authentic new ways. The album has deep roots in the storied lineage of Northeast tri-state hardcore and emo, but it also fully embraces the widescreen alternative rock songwriting at which Anxious have previously only hinted. It’s a statement of purpose, the kind of album that comes from a band reconciling where they’ve been with where they want to go. Bambi is the sound of Anxious putting everything on the line–and coming out on the other side better than ever.

Inspired by “big swing” records like Blink-182’s self-titled or Jimmy Eat World’s Clarity, Anxious set out to redefine the band without losing sight of what made them work in the first place. Tracks like “Head & Spine,” “Sunder,” and “Tell Me Why” showcase the scope of Anxious’ evolution, tapping crunchy ‘90s rock guitarwork, layered ‘60s-esque harmonies, and crisp, modern production that captures the unrivaled energy of seeing the band play live.

Apple Cores is the latest full-length album from New York tenor saxophonist James Brandon Lewis, "one of the fiercest sounds in jazz today" (The Guardian) with a "penchant for unbound exploration" (Pitchfork). Informed by the rhythms and textures of hip-hop and funk while remaining rooted in jazz, Apple Cores was recorded with Chad Taylor (drums/mbira) and Josh Werner (bass/guitar) over the course of two intense, entirely improvised sessions. The album takes its name and intention from the column that poet and jazz theorist Amiri Baraka wrote for DownBeat in the 1960s. In addition to Baraka, the influence of another jazz giant looms mightily over Apple Cores: trumpeter and multi-instrumentalist, Don Cherry. In a testament to Cherry"s influence over the music that the trio is playing, Lewis designed each song title as a cryptogram of sorts, making subtle references to Cherry"s life and music. Apple Cores further cements Lewis as one of the provocative and prolific musical voices of his generation. It follows his breakthrough with JazzTimes" Album of the Year Jesup Wagon (2021), a dreamlike mosaic of gospel, folk-blues, and catcalling brass bands inspired by inventor George Washington Carver, and Eye Of I (2023), his joyous and exploratory debut for ANTI-.

After 10 years, WOLF HALL returned our screens in 2024 bringing Hilary Mantel's epic saga to its grim conclusion in WOLF HALL: THE MIRROR AND THE LIGHT. Directed by Peter Kosminsky, the six episodes tell the continuing story of Thomas Cromwell (Mark Rylance) and his complex relationship with Henry VIII (Damian Lewis) after the execution of Anne Boleyn,.

The new soundtrack reunites original Wolf Hall composer Debbie Wiseman with The Locrian Ensemble. Debbie Wiseman comments on her return to that world - "The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano, Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli. It's been the most thrilling experience composing the score for this production."

"With their dulcet fusion of ‘60s French ye-ye pop, slinky Studio One reggae, and liminal Brazilian tropicalia, Claude Fontaine’s songs embody the best kept dreams of a globally connected world. The second album from the Los Angeles artist reflects the dream of creating the soundtrack for this utopia by the sea.

Released on Innovative Leisure, La Mer is a mesmerizing portal. It’s impossible for it to exist outside of the modern moment, but it floats on the gilded dust of the past. At times, Fontaine channels Jane Birkin as backed by Jorge Ben. Francois Hardy locked into sonic reverie with Mulatu Astatke, or Margo Guryan making lovers rock.

None of this is a happy accident. For her second opus, Fontaine assembled some of the most gifted musicians of the last five decades. First and foremost is her co-writer and producer, the multi-platinum Grammy-Award winning Lester Mendez, whose resume includes everyone from Grace Jones and Baaba Maal to Shakira and Nelly Furtado.

As with Fontaine’s self-titled first album, the legendary Tony Chin appears on guitar, bringing the orphic tones expected from someone who has played with some of the greatest reggae musicians of all-time (King Tubby, Dennis Brown, Lee Perry, Jackie Mittoo, Max Romeo, Sly & Robbie). On bass, there’s Ronnie McQueen, one of the co-founders of Steel Pulse. Sergio Mendes’ percussionist, Gibi Dos Santos, supplies propulsive locomotion. So does Ziggy Marley’s drummer, Rock Deadrick. And that’s just the abridged list of storied instrumentalists who appear on La Mer."

The next release from 29 Speedway is Break, the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. The tape features two remixes by the singular DJ Marcelle.

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering.

„Life has never been easy, so keep moving“ is the opening line of Making moves, the title song of SANTROFI‘s new album. Four years ago their celebrated debut ‚Alewa‘ introduced this 8 piece Highlife collective powerhouse from Accra to the world.

After five solid years on the road, SANTROFI is now ready to release some fresh material. co-produced and mixed by four-time Grammy Award winner Jerry Boys (REM, Ali Farka Toure, Buena Vista Social Club, Orchestra Baobab, Kronos Quartet). The band has continued an intense tour schedule, with 2024 seeing their first shows in the USA as well as a Japan tour of with 13 sold out shows 2024. where.

Making moves is both a celebration of SANTROFI’s roots and a leap into the future of Highlife. The opening track Amina is a Ghanaian childhood game turned Highlife Funk. It draws from the past, pushing it into the future. The title song Making moves sees Santrofi team up with the current booming Afrobeatscene in Ghana: It features Ghanas Newcomers Kofi Jamar and Arathejay. The song talks about trying to survive on the sometimes crazy streets of Accra without loosing your mind. Su nkwa sees Santrofi celebrating their love for typical Sikji Highlife music. And the nostalgic No money, no honey sums up yet another common truth from the streets of Accra. From the opening Highlife funk of Amina to the Ghanaian-childhood-game-turned- boogie-banger Gyae me how, this record will get you dancing.

Led by producer-bassist Kojo Ofori, SANTROFI unites 8 of Accra’s most gifted musicians with a passion for both vintage highlife grooves and a hip hop sensibility. Members of the band have played with leading Ghanaian artists including Ebo Taylor, Pat Thomas, Ambolley, AK Yeboah and highlife pioneer AB Crentsil with whom they recorded just before he passed away - watch out for that!

SANTROFI have shared stage and studio with rising stars of Ghana’s vibrant urban music scene such as Kidi, Yaw Tog, Black Sherif, AratheJay and even Nigerian superstar Wizkid (who has made Accra his second home). The upcoming album sees the band teaming up with some of the most exciting talents in Ghana‘s such as AratheJay and Kofi Jamar.

If you think it is impossible to play a funk groove (or even drill) over a pulsing Highlife clave: SANTROFI will prove you wrong. Listen to the phrasing of SANTROFI‘s horn section, hear the Highlife clave running through every bar of their music. Santrofi are pushing Ghanas Highlifegrooves into the future without loosing its sweet soul. And don’t forget to come and see them Making moves live in your city.

The first-ever vinyl reissue of perennial pop icon and pin-up Samantha Fox’s self-titled 1987 sophomore album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Samantha Fox boasts five hit singles: the Stock/Aitken/Waterman favourite ‘Nothing’s Gonna Stop Me Now’ (#8 UK), the memorable Full Force collaboration ‘Naughty Girls’ (#3 US), ‘I Surrender (To The Spirit of the Night’, ‘I Promise You’ and ‘True Devotion’. Developing Samantha’s sound with a compelling mix of pop, rock and hip-hop stylings, the album made #22 in the UK and #51 in the US, gaining her second straight gold certification. Pressed on striking transparent caramel vinyl with gold and silver splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. Samantha Fox is reissued alongside the 1986 debut album, Touch Me, and 1989’s I Wanna Have Some Fun

The first-ever vinyl reissue of perennial pop icon and pin-up Samantha Fox’s self-titled 1987 sophomore album. The only British female solo artist to score three Top Ten hits on both sides of the Atlantic in the 1980s, Samantha made her name as the nation’s favourite Page Three girl before launching an enviable music career.

Samantha Fox boasts five hit singles: the Stock/Aitken/Waterman favourite ‘Nothing’s Gonna Stop Me Now’ (#8 UK), the memorable Full Force collaboration ‘Naughty Girls’ (#3 US), ‘I Surrender (To The Spirit of the Night’, ‘I Promise You’ and ‘True Devotion’. Developing Samantha’s sound with a compelling mix of pop, rock and hip-hop stylings, the album made #22 in the UK and #51 in the US, gaining her second straight gold certification. Pressed on striking transparent caramel vinyl with gold and silver splatters to complement the original aesthetic, this edition boasts painstakingly rebuilt artwork and a newly designed inner bag featuring full lyrics.

A strictly limitededition picture disc is also available. Samantha Fox is reissued alongside the 1986 debut album, Touch Me, and 1989’s I Wanna Have Some Fun

ED/MCL (pronounced Ed Michael) and IDN (Ibisazi Designers Nyabyo) have collaborated to create MOSH - both the title of the EP and its proposed genre. Mosh is music to mosh to, like dance is music to dance to. Jungle breaks are slowed down to the tempo of a metalcore breakdown. Super low 808s rumble below the beat. Sampled and recorded sounds are textured to evoke heavy metal guitars. And there are rhythmic shouted phrases, for shared chanting. This EP is being released on Interference Pattern because Tyler Pope saw ED/MCL playing on the street in Williamsburg.
IDN (Ibisazi Designers Nyabyo) is an artist collective based in Rwanda. Their vocals are shouted in a language of their own invention, yet they have crafted catchy vocal hooks designed for call and response. The vocals heard on MOSH were recorded with ED/MCL while they were visiting them in Kigali. The final track is a 10 minute long performance by IDN, from which ED/MCL remixed the preceding five mosh songs.

Two sought after artists, Deft and Manni Dee, combine their uniquely eclectic sounds on collaborative EP ‘Swamp Season’ arriving on Hooversound in March 2025.

Deft, a familiar favourite within the Hooversound family having released two EP’s on the label, is no stranger to breaking boundaries when it comes to sonic stereotypes. Enter: Manni Dee. Another equally exciting name on the London circuit who is an advocate for non-conformism. Between them they have released on Exit, 1985 Music, Critical and Fabric Originals - their style has been recognised globally and continues to grow. Both creatives bring something refreshingly new to the table, whether it’s with their amalgam style of music making, their esteemed record platforms (Silk + Steel, B4 Music) or their DJ sets - it makes perfect sense for the duo to unite on their vision.

Their latest offering combines their boundaryless artistic style of forward-thinking atmospheric production on an EP named ‘Swamp Season’. The two producers play with different elements of club music and hip hop by blurring genres and throwing the rule book out of the window. The end result highlights how Deft and Manni Dee have excelled once again across five bass-fuelled tracks which will expand your perspective on electronic music.

On their single, the duo said “‘Charged’ was the last track we wrote for the EP. Rooted in the simplicity of 00's hip hop instrumentals, on steroids, adapted with the wider electronic sphere in mind. Inspired by the past and present, facing the future.”

Deft and Manni Dee also explained how they came to collaborate; “We've always shared the same taste in hip hop and electronic music, and also share a studio together underneath FOLD in Canning Town, so it just made sense for us to make a record together. Our process was creatively free with no preconceptions, having worked together remotely and together across multiple studios around the world. The result has created a new and exciting avenue for us both, opening the floodgates to eliminate boundaries. It's Swamp Season.”

Sam Amidon is a singer and multi-instrumentalist (banjo, guitar, fiddle). New album, Salt River finds Amidon reinterpreting and regenerating 10 familiar pieces of music that he has collected together over time, ranging from traditional English shanty Golden Willow Tree to Lou Reed's Big Sky. It was recorded in collaboration with saxophonist and producer Sam Gendel. Sam has released 7 acclaimed albums plus collaborated with The National, Bon Iver, Beth Orton, Marc Ribot & The Blind Boys of Alabama.

MPO is thrilled to announce the release of Jazz Sexiest Ladies, a two-LP compilation that masterfully blends the elegance of jazz with the charm of iconic pop hits from the last five decades. This unique collection features a selec- tion of sultry, jazz-inspired renditions of beloved songs, all brought to life by some of the most evocative female voca- lists in the genre. Each track offers a fresh, soulful interpretation, transforming these well-known hits into intimate, lounge-style performances.
Highlighting this compilation are stellar contributions from renowned artists such as Sarah Menescal, Karen Souza, Eve St. Jones, and Cassandra Beck. Their distinct voices and captivating styles infuse each song with warmth and sophistication, creating an experience that bridges the worlds of jazz and pop. These talented performers bring depth and allure to classics, offering listeners a new way to appreciate the enduring appeal of these hits.
Available on vinyl, Jazz Sexiest Ladies is a must-have for collectors, jazz aficionados, and anyone looking to experien- ce pop classics through a new, refined lens. This double LP promises to be a captivating addition to any music collec- tion, ideal for setting a relaxing ambiance or enhancing a lively gathering with its rich, evocative soundscapes.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

The Durutti Column, Linda Perhacs, Penguin Cafe Orchestra, Judee Sill. Hello and welcome to Decide Which Way The Eyes Are Looking, the new record by Lina Tullgren. It is a deeply gorgeous intervention, a carefully ornamented dilemma, the most inviting crisis. Made with a host of Los Angeles musicians, Decide exposes Tullgren's daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium's sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It's a tone that signals weariness, but a weariness hand-in-hand with tenacity. There's a clarity, a kind of immovability. Lina Tullgren's first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren's reputation as a composer of "wide-eyed wonder paired with a resonant despair." 2019's Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song. Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking. For Tullgren, Decide is a culmination of all the work they've done throughout their life: the melodic, the dense, the confessional, the unknowable. It's also a tribute to collaboration. Describing the sessions as having "a lot of space and a lot of ease,"" Tullgren invited musicians from a vast field of songmaking to play on the recording: Leng Bian, Zach Burba, Luke Csehak, Corey Fogel, Jenny Hirons, Tara Milch, Tim Ramsey, Michael Sachs, Jude Tedaldi, Marta Tiesenga and Ben Varian. Jonny Kosmo's backhouse was offered as a cozy, easygoing space for the players to create their parts together, and the record was completed by Tullgren and Luke Csehak together at their Los Angeles home. In Tullgren's words: "I feel really strongly that this album is a portrait of the community I found in Los Angeles." Decide Which Way The Eyes Are Looking is a quiet masterpiece: a generous, memorable journey. It is the result of five years of labor, the product of abandoning the pop song entirely and starting over. Whatever wanderings or doubt fueled it, Decide is also entirely at ease: a record on which Tullgren sings "and I know/what to do now" and "I know exactly what to do" in subsequent songs, clear in the revelations this path has given the

Ginnels never let up. Though it has been, staggeringly, eight long years since the last irresistible jangle pop transmission under the Ginnels moniker, nothing much has changed in Mark Chester's approach when it comes to the practice of music making, even if much everything else for Chester has seen considerable flux – he's now a father of two, and most shockingly of all for an indie popster of his ilk, gainfully employed. "It definitely started the same way all Ginnels stuff starts," Chester explains, "which is just me looking through five years of phone demos and going 'that's a decent song' and 'that's a decent song', and if you keep that up then you have a full album."

The man himself might be coyly committed to making his process sound as pedestrian as possible, but from the moment the delicate chiming introduction of album opener 'The Body Was Gone' goes widescreen – revealing an expanded sonic palette richer in timbre and exponentially wider in scope than anything Chester has let out into the world thus far – it is apparent that "The Picturesque" is poised to be less than parochial in its sonic purview.

From here, "The Picturesque" plays like a gauzy road trip Super 8 footage cutting between scenes of sunset at Monument Valley and B-roll from around middle-Ireland, entirely soundtracked by some enchanted mixtape of heretofore unheard B sides from REM, XTC and The Go-Betweens, unexpected guest appearances from the surprisingly together-sounding ghost of Johnny Thunders and snippets from your coolest friends' unreleased instrumental experiments. All liberally rippled with Chester's unique ear for melody and appetite for the unexpected when it comes to crafting guitar parts. And this, by design, feels like a Guitar Record, above all else.

For all its effortlessly sticky lyrical and melodic twists, "The Picturesque" separates itself within the mighty Ginnels catalogue in both the dexterity in playing and diversity in tone on show across these 12 tracks. And 12, of course as we know, being the optimum number of tracks for any LP to have, so bonus points for that too.

. The idea for the band was originally conceived by singer-guitarist Joe Woodward whilst writing and recording songs in his kitchen on a 4-track recorder, and over time eventually found help from like-minded friends, Elliot Roberts and Cam Wheeler. The three of them would spend their nights experimenting with cassette recording with the admirable if not challenging aim to recreate the symphonic sounds of Phil Spector on a DIY budget. With growing confidence and having amassed a small catalogue of songs, a few aborted attempts were made to get a live band together before they found help from a second guitarist, Eli Allison, who had recently relocated from Cornwall. As necessity would dictate, the first shows as a quartet made use of a drum machine, but the ideal formation for the band wasn’t truly complete until meeting Nia Abraham, whose live drumming would add a more physical quality to the band’s sound. At the beginning of 2024, they began working more purposefully towards an end goal with the writing and recording of the five-song Nowhere Near Today EP. Though retaining some of their home recording practices, they also made use of a studio facility based in a disused shopping centre basement that was made available through SHIFT, a local artist collective connected to the band. The acquisition of an 8-track Tascam 488MKII, along with the natural reverb of SHIFT’s empty concrete space allowed for further opportunity to experiment with both cassette recording techniques and their still developing live sound, the two environments permitting an all-too-rare creative freedom. The process was transformative for the group, their Spector-inspired ambitions now taking on a more defined shape that skirted around the edges of psych, noise-rock and industrial-pop in a way that increasingly became their own. For a debut EP, the results are impressively realised, a confluence of expansive tremolo guitars, a deliberately primordial rhythm section and a contrasting vulnerable vocal performance that’s both melodic and bracing. It’s a record born both of private experimentation and public performance, who they are on stage and what they express on record informing the other but still distinctly each their own thing, shifting then dovetailing like the waves of feedback that wash through Nowhere Near Today. Still a young band, it’s tomorrow they feel a lot closer to.

The Parisian Label Gathers Five Producers Around a Minimalist Techno Canva. ...

America Town is the second studio album by American pop rock artist Five for Fighting. The album contains two of his most well-known songs, “Easy Tonight” and the Grammy-nominated “Superman (It’s Not Easy)”.

America Town features ten new songs and two songs that were re- recorded from the Message album (“Love Song” and “The Last Great American”). The album features a hidden track, “Do You Mind”.

America Town is now available on vinyl for the first time. This is a 25th anniversary edition of 1000 individually numbered copies on translucent blue coloured vinyl. The package contains a 4-page booklet.

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.