Pop & Rock News

On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.

"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.

"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.

Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.

This slice of glam/power pop perfection is available again for the first time since 1974! You have to wonder why a song as incredibly catchy as "Turtle Dove" wasn't a mega smash. Maybe the lyrics were too bawdy for the BBC? The flip side was definitely much too much for the Beeb. "Oxford Donna" is a tender song about a former Oxford pupil who just likes a gang bang now and again! T. Rex's MARC BOLAN was a fan and friend of lead singer/songwriter DAVID KUBINEC (ex-World Of Oz). Marc even said to Kubie after hearing "Turtle Dove", "I should have written that!" In fact, David has stated that "Turtle Dove" was very much written with T. Rex in mind. If you were wondering why it's "KUBIE and the RATS" now, instead of just "RATS" as it was originally released, the group was never intended to be just "RATS", that was their management's decision. The group was built around David "Kubie" Kubinec and he wrote and sang all the songs. He later went on to a solo career and notably, his second album, "Some Things Never Change", was produced by The Velvet Underground's JOHN CALE. Sourced directly from producer Adrian Millar's masters. This a one-time pressing of 500 - once it's gone, it's gone.

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

Oakland's So What is back with a bang with a hit single to follow-up their late 2016 long-player "Hard Gum"! We detect a heavy whiff of hard-nut Antipodean style grit on the stellar A-side, "Deep Freeze". A steady diet of 70s Australia's finest - and we mean all things Vanda and Young related - will do that. Pure, no nonsense knuckle-dragger Rock n Roll that definitely carries on the spirit of early AC/DC, Marcus Hook Roll Band, Coloured Balls, etc. Exclusive b-side scorcher, "Razor Blade", a long-time live fave, that is equals parts terrace stomper and Slade-esque boogie, has finally been committed to vinyl.

SO WHAT's debut LP is filled with stompers, hand clappers, and all the riffs that matter. Co-released by Just Add Water Records (USA) and Surfin' Ki (Italy). From the GLAMTASTIC pounding drums, Moogs, and big fuzzy riffs of "Where We Going" and "Why Can't I See You Tonight", to the EQUALS-esque "Don't Come Back" and "What You Said", this album is chock-full of HITS!

The originators of the HARD GUM SOUND are back with their worth-the-wait follow-up to the aural perfection that was their debut single, "What You Do To Me". Infectious A-side ripper, "Why Can't I See You Tonight" is straight outta '74, pulls out all the stops with Moogs, handclaps, fuzz guitars, and an ear worm of a chorus that will be stuck in your head for days! EXCLUSIVE B-side is their homage to their favorite band and biggest influence, THE EQUALS. "I Can See But You Don't Know" was

THIRD WORLD WAR vocalist/chopper guitarist TERRY STAMP’s criminally obscure and exceptionally brilliant debut solo album is back in print for the first time since 1975. Recorded in October 1974, about 15 months after Third World War finally called it a day. On "Fatsticks", Terry is backed by a killer crew of ringers consisting of his old TWW cohort, bassist Jim Avery (ex-The Attack, Thunderclap Newman), in addition to Ollie Halsall (Timebox, Patto, Boxer), Mike Moran (David Bowie) and the latter-day T. Rex rhythm section with Herbie Flowers (he of "Walk On The Wild Side" bass line fame) and Tony Newman (Sounds Incorporated). This album didn't have much of a chance upon its original release in July 1975: no promotion, no label support, and Terry had already bailed the UK for the greener pastures of America by the time it was released. This album is another case of Just Add Water Records having the chance to right history's wrongs by shining a light on a very deserving release that was literally ignored upon its initial release. We also changed the running order, because the original one is baffling at best and Terry didn't agree with it. It flows much better now. Opening track, "Itchy Feet", wasn't even supposed to end up on the finished album as it was deemed a bit too raw for the label's taste. It was eventually tucked away as the last track on the original album. What you are hearing is literally a live run-through with what were intended to be scratch vocals, that's why you hear Terry shouting instructions like "Bridge!" and "Solo!" to indicate where the changes are. Ollie Halsall was indeed that great of a guitarist to make up a solo like that on the fly. As the story goes, first there was Hendrix, but Ollie wasn't too far behind. Just when you think the song is finished, Ollie calls out, "Again. Yeah, yeah!" and launches into another blazing solo and uses what must be every note on his entire fret board. Just as in his days with THIRD WORLD WAR, Terry isn't beholden to any one style. This album has it all - from pub rocker "Motor Head", the boozy plaintive cry of "Town Drunk", to Terry's best ballad this side of “Stardom Road Part 1”- the closing title track, “Fatsticks”. This album is firmly in our all-time Top Ten and will soon be in yours. Liner notes by Terry himself! This is a one-time pressing of 500.

TREVOR WHITE, Jook and Sparks guitar hero, brings you a slice of power pop perfection that's been marinating for over four decades! Recorded in 1976 at the same sessions as his godhead "Crazy Kids" single, "Understood" was originally pegged to be the b-side of "Crazy Kids". It was deemed "too good" to be relegated to mere b-side status. It was then decided that "Understood" was to be Trev's follow-up to his soon-to-be-a-hit record, "Crazy Kids" released in July 1976. When "Crazy Kids" failed to become the massive smash that it obviously deserved to be, "Understood" ended up going unreleased until now. Trev's patented wall of guitars is front and center of this instant ear worm, not to mention loaded with pitch perfect harmonies. As with "Crazy Kids", Martin Gordon (Sparks, Radio Stars)is on bass and Chris Townson (Jook, Radio Stars, John's Children) is on drums. B-side, "Fall In Love Tonight", is an unreleased home demo recorded in 1979 that showcases Trev's unabashed pop side with hooks galore that brings Dwight Twilley to mind.

We are honored to release the 40th Anniversary Edition of JOOK/SPARKS/JET/RADIO STARSguitar hero, TREVOR WHITE's should-have-been-a-number-one-hit single from July 1976. Trev was fresh off his stint with Sparks when he recruited MARTIN GORDON (Sparks, Radio Stars) and CHRIS TOWNSON (John's Children, Jook, Jet, Radio Stars) to record this slice of perfection known as "Crazy Kids". Trev originally recorded this tune with Jook back in 1974 as the B-side to their incredible "Bish Bash Bosh" single. The B-side of this single, "Movin' In The Right Direction", is actually an unreleased-at-the-time Jook song, with Ian "Ralf" Kimmet on rhythm guitar and backing vocals, Ian Hampton (Sparks) on bass, and Chris Townson on drums again. This single is available for the first time in decades, and is newly remastered from the original recordings. The clarity is stunning. You can hear guitars and vocals that were buried on the original pressing.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

ALTER presents a remastered edition of Cremation Lily’s second album, on vinyl for the first time. Recorded whilst living in Hastings and originally released as a double cassette on his Strange Rules label in 2017, The Processes… forms a trilogy of albums in the CL canon that were influenced by the life and atmospheres within British coastal towns. Composed using a rudimentary set-up of synth, drum machine and two modified walkmans, CL draws upon a broad range of influences from the underground electronic music spectrum. Noise, tape music and ambient techno are all referenced and align to form a cohesive collection of tracks, flowing fluidly in sequence. Melancholic synth pads and deep kick drums intersect with crude field recordings and occasional bursts of feedback, evoking a claustrophobic uncertainty that feels more like being pulled under than carried above.

Features additional piano and violin by Theodore Cale Schafer.
Remastered by John Hannon.

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

Flaming Pie is the tenth solo studio album by Paul McCartney, first released in 1997.

Having been heavily involved in The Beatles' Anthology project, Paul had time to reflect on the standards he and his bandmates had set during their career, and applied these to what would become his first album in four years. Made in a much more spontaneous style, with songs recorded here and there, mostly on holiday, it's an album that luxuriates in its own sense of fun.

Featuring producers George Martin and Jeff Lynne, as well as musicians including Steve Miller, Ringo Starr and his own son, James McCartney, Flaming Pie would go on to become one of Paul's most acclaimed albums. Sales were brisk, with the album only kept from the Number 1 slot on both sides of the Atlantic by the cultural phenomenon that was the Spice Girls' Spice album.

Half-speed master of the remastered main album tracks cut over 2LPs for the first time

1LP of the Demos and Home Recordings
















o E1. The Song We Were Singing Home Recording
[p] E2. The World Tonight [Home Recording]
[q] E3. If You Wanna [Home Recording]
[r] E4. Somedays [Home Recording]
[s] E5. Young Boy [Home Recording]
[t] F1. Calico Skies [Home Recording]
[u] F2. Flaming Pie [Home Recording]
[v] F3. Souvenir [Home Recording]
[w] F4. Little Willow [Home Recording]
[x] F5. Beautiful Night [1995 Demo]
[Home Recording

Music From Memory are delighted to present Fools’ debut album ‘Fools’ Harp Vol. I’ and the first
solo release of American musician Christopher Bear. Drummer and multi-instrumentalist of cult
Indie band ’Grizzly Bear’, ‘Fools’ is a pseudonym that Christopher has been using while working
on his independent music making for some time now.

Often finding the structure and form of a more traditional ‘song’ and the concept of an album too
restrictive, Christopher finally set aside a six week period in the summer of 2019 to explore the
possibilities of jamming alone and seeing where it took him: recording each instrument himself
and then responding through improvisation to his own recordings, Whilst doing most of the
recording in a digital set up, he also set out to capture some of the same mental and sonic
space from his time recording on 4-track.

The results of these Fools’ sessions, he explains, feel “almost more like a mixtape than an
‘album’ per se” to him. With a sense of the dichotomy between nostalgia and the future, ‘Fools’
Harp Vol. I’ seeks to transport the listener to a world both familiar and comforting, exploring
something undiscovered while maintaining a deep sense of openness and curiosity.
The album will be released in vinyl and digital formats with a cassette release to follow including
additional bonus tracks.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

Who said that all Nigerian afrobeat from the 70s was dark and though provoking with a melancholic edge despite the ongoing powerful grooves and a more or less political message denouncing the the methods of the country’s leaders to increase their own wealth and power while the simple people suffer. Well, this 1978 album by bandleader Thony Shorby Nyenwi proves this idea wrong. What we have here is a sacredly rare gem, fetching 300 € for a copy in playable condition. A crown jewel of Nigerian afrobeat and funk music that is an utter joy listening to. Thony Nyenwi's music is a monument of the genre carved in rock.

* For fans of Fela Kuti, Ofege, Assagai, The Funkees, Mixed Grill, Bob Marley
* Reissue of a long lost afro beat and Nigerian funk classic from 1978
* A massive collection of captivating grooves and haunting melodies.

What new can be said about this incredible band? They have played the most danceable electronic death disco on the planet since 2012…or was it 2112? The past and the future melts together, trying to draw their timeline but anyways, right now their new 7” ”Stonerdisco”/”Superstandard” is out on Höga Nord Rekords.

Exorcist have embraced hard rock more obvious than before, especially on the A-side, which is a boogie nightmare with fuzz bass and totally freed from guitar solos. The rhythm section with Osynlige Mann on bass and Tentakel on drums, plows in usual manner down space and time while Vesslans synthesizers shoots gamma rays through Exo-universe. The B-side is haunting, unsentimental dystopic disco.

The Exorcist prove that they still hold the powers of making supersonic dance music!

Handmade box: includes 7” adapter, rolling papers and enamel pin

The Mothership has come! It has arrived in the form of the strictly limited collection box “Upwards at 33 1/3 Degrees” (50 copies), containing all singles released on the label between 2017 and 2020. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Pardon Moi’s 80’s varnish sports car-electro and DRUK 11000’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Upwards at 33 1/3 Degrees” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

Dylan's debut album on LP + coloured bonus 7".

The bonus single is pressed on yellow vinyl.

Italy, Germany, and France come together for Ombra INTL 009. Wishing you well in the 6th dimension ocean we call life. Parisian darkwave duo ORDER89 join Berlin's Local Suicide and Curses and Psychedelic guitar trip of Italy's Amarcord and Parma's Dark disco champion Dog.ma.

The unexpected death of Prince in 2016 shocked the musical world, not only because he died at such an early age, but mostly, because we have lost one of the greatest music talents of the last 50 years. The Many Faces Of Prince is a heartfelt tribute to his work, and shows some lesser known facets of his career, like his beginnings as part of the funk group 94 East. You will also find his songs in versions performed by pop stars like Chaka Khan, Gary Numan, Dead Or Alive and Sheila E. With fantastic artwork and remastered sound, The Many Faces of Prince expand our collection of The Many Faces in vinyl format and is also essential to anyone who wants to dive into the legacy of one of the greatest artists of our time.

Dick Mono presents!….a WyldWax Original production!
Kicking off with a strictly limited, hand numbered 10” release of Brit fuzz-rockers the Force Five, combining their rare UK 45s from 1965/66, lovingly mastered from original sound productions with biography insert/rare pics, exclusive poster and reproduction postcard. The Force Five show their wyld side on two wyld sides of wax!

• Complete UK Singles
• Hand-numbered Flipback Cover
• Limited Edition Coloured 10 inch Vinyl
• Insert with Biography and rare photos
• Exclusive Reproduction Postcard and A3 Poster!!

Ted Nugent’s untameable energy is best transmitted live on stage; Double Live Gonzo! (1978) achieves this like no other. He shouts, grunts and squeals, while his guitar does the same. Pure pyrotechnics on 6 strings!

His hit “Cat Scratch Fever” gets the live treatment, as does “Great White Buffalo”. “Just What The Doctor Ordered” is indeed exactly what the doctor ordered: if you ever find yourself in need of getting your Rawk & Roll fix quick, look no further than Double Live Gonzo. Play it loud!

Available as limited editions of 1000 individually numbered copies on transparent red, solid white and transparent blue vinyl.

Originally released in 1977, Cat Scratch Fever is the third studio album by Ted Nugent, and a very successful one: it went multi-Platinum and some say it’s his best album ever. Recorded in New York and London, the album saw the return of lead singer Derek St. Holmes, who had left the band during the recording of 1976’s Free-For-All. The album was the last one with his original solo band.

The title track (and single) “Cat Scratch Fever” is perhaps one of the best hard rock anthems of all time. This album is a real Rock classic in the truest sense of the word!

Available as a limited edition of 1000 individually numbered copies on transparent red, solid white and transparent blue vinyl.

Originally released in 1977, Cat Scratch Fever is the third studio album by Ted Nugent, and a very successful one: it went multi-Platinum and some say it’s his best album ever. Recorded in New York and London, the album saw the return of lead singer Derek St. Holmes, who had left the band during the recording of 1976’s Free-For-All. The album was the last one with his original solo band.

The title track (and single) “Cat Scratch Fever” is perhaps one of the best hard rock anthems of all time. This album is a real Rock classic in the truest sense of the word!

Available as a limited edition of 1000 individually numbered copies on transparent red, solid white and transparent blue vinyl.

Ted Nugent’s untameable energy is best transmitted live on stage; Double Live Gonzo! (1978) achieves this like no other. He shouts, grunts and squeals, while his guitar does the same. Pure pyrotechnics on 6 strings!

His hit “Cat Scratch Fever” gets the live treatment, as does “Great White Buffalo”. “Just What The Doctor Ordered” is indeed exactly what the doctor ordered: if you ever find yourself in need of getting your Rawk & Roll fix quick, look no further than Double Live Gonzo. Play it loud!

Available as limited editions of 1000 individually numbered copies on transparent red, solid white and transparent blue vinyl.

Interstellar Funk & Robert Valera roll out a wealth of EBM, darkwave and acid leaning electronics in a new instalment for Olf van Elden’s (Interstellar Funk) label Artificial Dance. Devil’s Juice is a split twelve and the result of two analog recording sessions that took place in New York and Amsterdam in 2019.

Van Elden and Valera met each other through mutual friends, sharing a love for deep and twisted bassline explorations, visceral melodies and analog machine funk. Interstellar Funk has been releasing music through labels like Rush Hour, Dekmantel, L.I.E.S. and Berceuse Heroique, Devil’s Juice is a premiere for releasing his personal productions on his own imprint. Robert Valera is a seasoned live performer but this will be his first release. Devil’s Juice is a testament of Van Elden’s and Varela’s fascination for analog instruments and how they are able to communicate in spontaneous and unpredictable ways.

With its punchily sluggish bassline and churning synth-wave action, ‘Serge’ is straight up dance floor material boasting a contemporary take on early eighties darkwave esthetics. ‘Devil’s Juice’ taps in on an equally slow(ish) tempo, a highly infectious melody fluttering playfully over raw,
machine driven rhythmic patterns.

On the flip, the two producers switch it up a gear, going full throttle on ‘North Sea’, unleashing a torrent of virtuosic acid-esque synth tweaks and proper percussive fury, strapping arps and moody pads. ‘Klangin’ ignites the jack firing shrapnel snares and ruffed-up bass with rotor-jawed atmospheres, serving up a gloomy anthem inked with swirling arpeggios.

Time Lapse is out May 8th on 180 gram transparent forest green vinyl and compact disc.

A must for fans of artists such as GAS, Explosions in the Sky, or Bioshpere's earlier deep works.

Time Lapse is the 7th proper album from Bradford UK based worriedaboutsatan and third since the project has returned into a solo effort by Gavin Miller. Time Lapse is also the project's first album for North American emotional electronics stable n5MD.

For well over a decade, worriedaboutsatan has effortlessly nurtured a muzzled amalgamation of ambient, techno, and post-rock. The project is a go-to for its adaptation of dark, slow-churning, humanistic techno. Labyrinthine guitars, swelling 303s, and deep pulsing 808s all are utilized in the satan arsenal to realize some of the murkiest forward-moving soundscapes of the last decade. Time Lapse is quintessential worriedaboutsatan, filled with sprawling slow-burn arrangements bathed in velvety reverb tails.

As a young woman Sacha Vingerhoeds was part of a vibrant creative community in Rotterdam that organized itself under the name of ARTS. There was a primitively created studio situated in the basement of the building where spontaneous recording sessions took place. Since the house functioned as a communal space, sometimes travelers and unexpected visitors (both from Holland and abroad) passed by and contributed for a shorter or longer period to the creative output of the community.

Within this context a highly intimate cassette was recorded by Sacha and friends that combined the elements of improvisation, a free creative spirit and inner spirituality. The title "Eeuwig Op Reis" is hard to translate perfectly but means something like "Endlessly In Transit" or "Perpetual Travel", in the sense of being on an endless journey or travel. No more than 10 copies of the cassette were made and given to loved ones and family in 1983.

New Fries has never been interested in being a band. What we mean is a spirit of abandoning ideas of what songs should be, how they should be performed, and by whom. We’ve never been interested in the tradition of songwriting—though we’re interested in musical elements like repetition, space, and dynamics. We have wanted our music to make people dance but have also wanted to produce the feeling of that being taken away from a room. We often work around these sorts of energy transfers (whether or not we name them this way). This space to make music in has felt wild and free. We have also contradicted ourselves. We are also always changing. In 2018 Ryan Carley (synthesizer) left the band and we found ourselves at our first juncture to restructure and re-evaluate New Fries. This is such a classic boring story, we know. But immediately we knew that as a three piece (the band’s original formation) we had to turn to something new and open—the way some describe “beginners mind”. Anni grabbed bass (which was new to her), Tim grabbed guitar and a sampler as a new juggling routine, and Jenny reduced her drum kit to three pieces. We wanted to create a structure that allowed us to be curious about being in transition.

Much of this record sounds and reflects on this in-between. It’s anxious in its repetitions and unsure of genre. It rejects a singular character or emotion and attempts to instead act as a container for many. Anni’s lyrics state this directly: “it lacks a mood, it lacks definition” / “curiosity beyond expectation”. Her lyrics describe the spaces, objects, people, and situations that embody an in-between—her grandfather who worked as medium, the ecology of the foreshore, Mount Tambora’s eruption in 1816 that produced the Year Without a Summer, and mesh (the fabric). The result is a collage of 6 songs and many otherwise quick ideas.

Much of this collage was testament to the work of engineer/musician Carl Didur. Carl (Zacht Automaat, formerly US Girls) is a long-standing pillar of Toronto’s experimental music community. He is also a tape expert, which we knew these songs needed entering the recording process as mostly bare grooves. The result was less that of hiring an engineer than it was working with a collaborator. His musical ideas are all over this record. ‘Is the Idea of Us’ is the situation of musicians/non-musicians making music together perhaps completely illegible in the music on this record and to the random listener who doesn’t know our story in South Bend, Indiana (how did you find us?!) But with this title we name this absurd gesture, through our changing relationship to making music both as a unit and as individuals. There are enough bands out there; we insist on do it differently.

When S Krysh Nashikh Domov the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.

The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

When ? ???? ????? ?????, the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

"lineal" inward dance music. small pressing. first of a few more to come"

Black Rainbows are back with a brand new album! This time they are delivering 12 new and fresh tunes. Recorded and produced by Fabio Sforza, who was also behind the previous album Pandaemonium. "Cosmic Ritual Supertrip" has a monolithic force; guitars, drums and bass are all glued together to give the listener a punch in the face! This album gets its magic power from mixing together a 70's attitude with a doom-occult and stoner rock sound in a masterful way. We can count a bunch of singles, such as "Isolation" and "Master Rocket Power Blast", as well as a couple of doomy songs like "Universal Phase" and "Saacred Graal" and also more catchy tunes like "Radio 666" and "At Midnight You Cry". This is the 8th album of the band and we believe the best one so far. Recorded at Forward Studios in Rome on a huge Neve desk.

C. Lavender is a New York based sound artist and sound healing practitioner whose third full-length album explores meditative physical rituals of sound with binaural recordings from inside a geodesic dome in the Catskill Mountains of New York.

"The future is a choice between utopia and oblivion," noted architect, futurist and geodesic dome theorist Buckminster Fuller. Myth of Equilibrium delves into these divergent paths by featuring equal parts of pastoral raw acoustic percussion combined with C. Lavender's signature "devastating caustic drones" (Ad Hoc) via her custom bass guitar and synthesizers.

An assistant to the late pioneering electronic composer and Deep Listening founder Pauline Oliveros, C. Lavender's astute editing and the binaural recording process places the listener within the heady fluctuating underworld she has created on this album. The recording environment of the geodesic dome allowed for sounds to transfer out beyond the confines of the walls as well as allowing outside sounds from the surrounding wilderness to permeate in like that of a mutating cell. The album suggests "headphone listening" for the full hypnotic experience Myth of Equilibrium presents to the listener.

C. Lavender is a 2020 Pioneer Works (New York) Music Artist-in-Residence.

Groovy brings a jam-ready mentality together with sharp-edged songcraft. The material is united by that central undercurrent - timeless and undeniable. "We spent the better part of a year jamming, developing ideas and fine tuning arrangements," Harrington informs. "This is the first time since the self-titled record that we took the time to really flesh out song structures, tempos, etc. I always talk about the 'three pillars' of the Geezer sound: heavy, trippy and groovy. With this album, some songs are heavy, some are trippy, but they ALL had to be groovy." Regardless of tempo, mood, or any other theme that might show up in the songs, Groovy is a love-letter to groove itself, and in paying that homage, Geezer have discovered the truest reality of themselves yet. Whatever else groovy is, it's them.

Second full-length by Bay Area musician Gabriel Ramos; Inventive darkwave with a melancholic touch.

Five years after their self-titled debut Ssleeping Desiress returns with an outstanding second album Exile House. Tapping into melancholic darkwave via 1980s British post-punk guitar worship, delicious analogue synths and pulsating drums, the album unfolds like a soundtrack of city life with isolation, identity, and reconciling with one's past as central themes.

Over the course of eight tracks Sleeping Desiress showcase their ability to craft "dark pop songs” that sometimes twist and turn but ultimately weave their way into your head, determined to stay there. Ramos’s singular voice makes these songs shine even more, switching easily between slow introspective daydreams and upbeat anthems. Think: Glorious Din, Le Travo and... The Cure.

Buddy Holly is the debut studio album by Buddy Holly. It was released by Coral Records on February 20, 1958. The album collects Holly's four hit singles released on the Coral label; "Words of Love", "Peggy Sue", "I'm Gonna Love You Too", and "Rave On!". The backing group was Buddy Holly's band, the Crickets. This limited pressing of 500 copies is on coloured vinyl and includes free CD. Presented in a 50s style spineless flip back sleeve. The only solo album Buddy recorded for release in his lifetime (That‘ll Be The Day was early recordings issued on Decca and compiled after Holly scored some hot singles hits for his new label). Side One

Not to be sold before May 1st
Lord of the Isles and Scottish poet Ellen Renton join forces for a reflective record that touches on themes related to climate change, both in the present and future.
“Ellen’s poem ’Passing' blew me away and I felt compelled to provide it with a musical accompaniment. I liked how Ellen's vocal recording sounded lo-fi, so I created an environment around it to make it feel cinematic.” ‘Inheritance’ the closing track, picks up where ‘Passing’ leaves off, completing a journey it feels like many of us will experience.