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THE WORM - PANTILDE

The Worm

PANTILDE

12inchEMC-026LP
Em Records
07.11.2025

Comes with 4 page insert, English and Japanese liner notes and lyrics.

A contemporary folk wonder from Cornwall (Falmouth), England.

"We at EM Records love to transport our listeners to new worlds, other worlds; “Pantilde”, this magical new album from Cornish avant-folk performance artist The Worm, is indeed an ethereal new world: otherworldly, but somehow rooted; an imaginary oral and musical story of everyday village life in an alternative Celtic landscape. The music here is strange yet familiar, fantastical and enchanting while remaining simultaneously attached to the earth. Amy Lawrence, aka The Worm, plays cello, harp, recorders and percussion, accompanying and framing her rich voice, which is often overdubbed into lovely homespun vocal ensembles; they tell song-stories of mythical and mystical village life, of nature and the human relationship with the natural world. The Worm can be considered part of a lineage which includes The Incredible String Band, Shovel Dance Collective, Bridget St John, Dorothy Carter, Vashti Bunyan, Jessica Pratt, Cathrine Howe, Mary Lattimore, Tristwch Y Fenywod and of course many others. “Pantilde”, a time-trip to a dreamlike, pastoral world that nevertheless feels distinctly realized, is a remarkable avant-folk fantasia, co-released with Prah Recordings.

pre-ordina ora07.11.2025

dovrebbe essere pubblicato su 07.11.2025


Last In: 2026 years ago
The Down Hill Strugglers - Old Juniper LP

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

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Last In: 7 months ago
Tom Skinner - Kaleidoscopic Visions LP

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

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STEF KAMIL CARLENS & THE POEM - STEF KAMIL CARLENS & THE POEM LP 2x12"

After last year's extroverted and funky album "Be Who You Wanna Be," Stef Kamil Carlens presents a more introspective double album recorded with Nel Ponsaers and Rahmat Emonds. Featuring 14 songs—some of his own compositions and very surprising covers or reinterpretations—this album emphasizes lyrics, vocals, and a band sound primarily driven by acoustic instruments. Once again, it stands as a key addition to the already very eclectic catalog of one of Belgium’s most versatile and productive artists. Stef Kamil Carlens & The Poem will tour starting in October 2025.

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Last In: 5 months ago
Dao Strom - Tender Revolutions

Dao Strom

Tender Revolutions

12inchBNSD094/AF063
Beacon Sound
12.09.2025

Expansive and ambitious, Tender Revolutions is the latest from Vietnam-born, Portland, Oregon-based multimedia artist Dao Strom. A fluid album, existing between genres—part ambient folk, part sound collage, part spoken word, part post rock—it blurs the line between the work of an experimental composer and the work of an accomplished singer-songwriter. Instruments slip in and out (guitar, piano, synthesizer, strings, drums, percussion) amid field recordings and samples, all anchored by Strom’s singular voice.

The songs of Tender Revolutions reflect on and embody themes of “yellow subjectivities”—the Asian body as perceived; the Asian feminine body as reflection/catalyst/consort—offering their own forms of response to troubling representations of Asian women in popular media in the West. A “re-voicing” of the problematic hit song “China Girl” by David Bowie re-inhabits this song from a discomfiting silence at its center, and serves as a fulcrum point in the album’s sequencing. Other songs utilize voice as both texture and lyric-driven telling to deepen angles of interiority and thematics of voice/silence.

While Tender Revolutions stands alone as its own whole, it also exists as part of a larger multifaceted project, drawing from a four-part song-cycle (Nhạc Vàng 1-4) and accompanying a series of hybrid-genre literary chapbooks (Yellow Songs 1-4). Released in collaboration with The 3rd Thing, an interdisciplinary publisher in Olympia.



[a] tender variation i [what is tender?]
[b] tender variation ii [when was the first time u felt loved?]
[c] tender variation iii [associations of yellow]
[d] tender variation iv [love object treason]




[i] [hailing tender]

pre-ordina ora12.09.2025

dovrebbe essere pubblicato su 12.09.2025


Last In: 2026 years ago
NININGASHI - HEAVY WAY LP

A long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.

Although he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.
A coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.
Intoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.
Niningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.

Melancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.
While Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.
Self-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.

Featured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.

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Last In: 12 months ago
Willie Watson - Willie Watson LP

After 30 years of playing music professionally, Willie Watson is releasing his debut album. A founding member of Old Crow Medicine Show, and a staple on the folk and americana circuit - Willie is no stranger to the stage and to audiences. But this is his first album of original music, aptly self titled, and a bold and confident statement in both song mastery and sonics. This record is about beating the devil. Willie didn't make any specific pact with him, but he had been tangled up with him his whole life. This album is about finding himself free of that devil, and learning to love himself again. It is about no longer leaning on old sounds and old folk singers and the music they made, and instead about learning to express himself freely and without limits. The result is a masterpiece. Co Produced with Gabe Witcher (Punch Brothers) and Kenneth Pattingale (Milk Carton Kids), and co written with Morgan Nagler (Phoebe Bridgers, Haim, Gillian Welch and Dave Rawlings)

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Last In: 8 months ago
Professor Yaffle - Everyone Wants To Dream LP

Essential Liverpool psychedelic folk collective mapping their territory with a record rooted in place and memory.
For fans of: CSNY, Tim Buckley, Talk Talk, The Byrds, Sufjan Stevens and Love.
Like Tame Impala doing Nick Drake covers.
Professor Yaffle have created their most focused and expansive work yet. Following acclaimed previous releases, ‘Everyone Wants to Dream’ finds the band at their creative peak.
The album turns on Everton Brow - an unremarkable Liverpool hill offering the city's finest view. Rogers returns to this vantage point throughout eight tracks, using it as both setting and metaphor for looking back on life without nostalgia. From here, you can see the Mersey stretch toward Snowdonia, the city spread below like a living map.
'Lost in a Dream (On Everton Brow)' weaves Lee Roger’s lyrics as an eighteen-year-old lyrics with newly composed music. 'Everyone Wants to Dream' confronts the disorientation when your children grow and your role shifts. 'On Top of the World' becomes what Rogers calls 'a stoned love letter to Liverpool'.
This is Professor Yaffle's first release with Violette Records, marking the beginning of a partnership between two Liverpool entities who've circled each other for years before finding their moment.
Featuring a 1979 Karl Hughes photograph of a policeman surveying Liverpool from Everton Brow, capturing something essential about the record: that those who maintain order might dream the biggest dreams of all.
"Songs that speak clearly about things that are difficult to articulate - the changing nature of purpose, the ways we dream our fears away, the view from unremarkable hills."
Because sometimes you need to be above it all to see what's been right in front of you.

pre-ordina ora26.09.2025

dovrebbe essere pubblicato su 26.09.2025


Last In: 2026 years ago
Dennis Harte - Summer’s Over 7"

Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.

In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.

Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.

Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.

Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.

Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.

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Cantrips - From A Darebin Cave

Dune Castle presents - From A Darebin Cave by Cantrips, an acid folk odyssey. Recorded live with a 7-piece band over two days, "From a Darebin Cave" features members from Surprise Chef, Don Glori, Karate Boogaloo, and more.

Centered around the nylon guitar and voice of Patrick Ryan (Cantrips), this album draws inspiration from late 60s/early 70s acts like Nick Drake, Terry Callier, and Donovan. The album also incorporates string arrangements reminiscent of Frank Sinatra's "Watertown" and late 60s psychedelic pop. This unique sound was crafted by two keyboardists emulating a string quartet with synthesizers, complemented by drums, percussion, double bass, and pedal steel guitar.

The lyricism delves into themes of isolation, loneliness, regret, and joy, inspired by the natural beauty of the Darebin Parklands surrounding the Dune Castle studio, and takes influence from Romantic poets such as Mary Oliver, William Blake, and Pablo Neruda.

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Last In: 8 months ago
MONDE UFO - FLAMINGO TOWER

Monde Ufo

FLAMINGO TOWER

12inchFIRELP777
Fire Records
08.07.2025

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

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Last In: 8 months ago
MT. DESOLATION - THROUGH CROOKED AIM LP

Through Crooked Aim has the feel of a record to accompany the listener on epic journeys through strange and daunting territories. Adjust the rear-view mirror and press play as the landscape rolls behind you. Filmic. Atmospheric. Classic, Americana and Folk influences peppered throughout, It's a journey that rolls through valleys, painting its own rich, vivid pictures inhabited by troubled, nuanced characters looking for ways to keep going. Recording it at Old Jet in Suffolk, an old US Airforce base turned creative arts community developed and run by Quin added its own majesty to proceedings. Waking up to see herds of deer walking through the moors and mist whilst surrounded by these aircraft hangers. You can't help but find some of that magic seeping into the recordings.

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Shione Yukawa - Gingham Check no Kotori / Kaze yo Fukanaide

The beloved 2007 hit song by Shione Yukawa, which was also featured on NHK's "Minna no Uta," is finally being released on vinyl!

The long-awaited first 7" release of "Gingham Check no Kotori" comes with a rare, never-before-seen jacket shot taken by photographer Suilen Higashino at the time of its release!

The B-side features the 2008 hit "Kaze yo Fukanaide" recorded in London, making this a luxurious 7-inch vinyl. This must-have record for music fans showcases two exquisite tracks by the naturally gifted singer-songwriter Shione Yukawa, whose captivating voice continues to enchant audiences to this day.

pre-ordina ora29.08.2025

dovrebbe essere pubblicato su 29.08.2025


Last In: 2026 years ago
Various - The World Is But a Place of Survival: Ethiopian Begena Songs (TAPE)

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

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Various - The World Is But a Place of Survival: Ethiopian Begena Songs LP 2x12"

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

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Blue Lake - The Animal LP

Blue Lake

The Animal LP

12inchTU014LP
Tonal Union
15.01.2026

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

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Third Ear Band - Third Ear Band

For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.

Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.

On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.

The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.

– Dave Segal (excerpt from the liner notes)

pre-ordina ora22.08.2025

dovrebbe essere pubblicato su 22.08.2025


Last In: 2026 years ago
Nick Drake - The Making of Five Leaves Left LP 4x12"

Nick Drake

The Making of Five Leaves Left LP 4x12"

4x12inch7762691
UMR
31.07.2025
 
10

The Making Of Five Leaves Left tells the story of how Nick Drake’s debut album ‘Five Leaves Left’ came to be released in 1969. This Nick Drake Estate authorised 4LP edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood. Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history. This Nick Drake Estate authorised 4CD edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood.
Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history.

pre-ordina ora31.07.2025

dovrebbe essere pubblicato su 31.07.2025


Last In: 2026 years ago
Various - Pasé Bél Tan : Francophonies & Creolities in Louisiana LP 2x12"
 
34
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Vinyl


The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.



The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.



The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.



The book only is not available through distribution but only as a bundle with the 2LP version.

pre-ordina ora19.09.2025

dovrebbe essere pubblicato su 19.09.2025


Last In: 2026 years ago
ECHO SINGERS - ECHO SINGERS

Real special folky 7"...

An official collection of otherworldly and beautiful folk songs performed in 1980 in Canada by pupils (singers) and their teachers (instruments). Three songs are taken from a scarce privately pressed 'mysterious' Lp released under a different moniker. Two songs are unreleased songs from that session in 1980.

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Last In: 9 months ago
YORKSTON / JAYCOCK / LANGENDORF - LP

YORKSTON / JAYCOCK / LANGENDORF

LP

12inchBS095
BLACK SWEAT RECORDS
Release unknown

The scottish singer-songwriter and multi-instrumentalist James Yorkston and the english guitarist with a fluid fingerpicking touch, David A. Jaycock, already played together in the first formation of the experimental folk ensemble Big Eyes Family Players. Their encounter with Swedish saxophonist Lina Langendorf gives rise to a little gem of pure acoustic candour, perfectly balanced between chamber avant-garde and neo-folk. As on an endless autumn evening in front of a lake in Finland or Estonia, the trio's nordic soul creates atmospheres that recall hidden nostalgia. In a process of rarefied sound matter, elegiac paintings spring up, moments that flow slowly and silently in a tension that is always suspended and unresolved. Soft, crepuscular passages, at times sharp and cold guitar, but also the velvety breath of the nickelharpa, combine with a saxophone that still blows dramas of distant Norwegian fjords, but can also become more Mediterranean and arabesque. The music becomes like a warm warmth around the fire, reflecting a hidden twilight zone of the soul, in a quiet, gentle whisper between poetic abstraction and arpeggiated themes of more recognisable narrative melody, typical of a certain Northern folklore.
Co-Release with We are busy bodies.

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Last In: 2026 years ago
HARESS - SKYLARKS LP

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

pre-ordina ora20.06.2025

dovrebbe essere pubblicato su 20.06.2025


Last In: 2026 years ago
HIROKI TAMAKI - BHAGWAN SHREE RAJNEESH (1980) LP

Violinist, composer, and arranger Hiroki Tamaki presents a majestic musical tapestry inspired by the teachings of Indian spiritual philosopher Bhagwan Shree Rajneesh. Layering his own vocals in rich harmony and weaving in the ethereal synthesizer work of Fumitaka Anzai (of TPO and Urusei Yatsura fame), Tamaki creates a soundscape of mysticism and spiritual balance.
The album features progressive rock-influenced tracks such as “The Songs of Mahamudra” and “Meditation,” alongside hidden gems of Japanese acid folk like “River” and “Beautiful Song,” both of which were selected for the acclaimed compilation "Nippon Acid Folk 1970–1980" (Time Capsule). A rare and visionary work that bridges cosmic philosophy and musical experimentation.

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Last In: 2026 years ago
Ray LaMontagne - Trouble - 20th Anniversary Remastered Edition
  • Trouble
  • Shelter
  • Hold You In My Arms
  • Burn
  • Forever My Friend
  • Hannah
  • How Come
  • Jolene
  • All The Wild Horses

Celebrated Grammy award winner Ray LaMontagne will commemorate the 20th anniversary of the release of his seminal debut album, Trouble, with a special remastered vinyl edition Additionally, LaMontagne will embark on the Trouble 20th Anniversary Tour, performing the album in its entirety for the first time since its release. On the remastered vinyl, LaMontagne continues, "When Trouble was initially released Vinyl was considered a dead format, never to breathe again. Digital audio was the new King. As we know this has proved untrue. Each year more and more music lovers are listening to vinyl and appreciating it for its depth and breadth of sound, for its physical heft, for its tangible realness."

pre-ordina ora13.06.2025

dovrebbe essere pubblicato su 13.06.2025


Last In: 2026 years ago
Eve Adams - American Dust LP

Eve Adams

American Dust LP

12inchBR023LP
Basin Rock
22.08.2025

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”

pre-ordina ora22.08.2025

dovrebbe essere pubblicato su 22.08.2025


Last In: 2026 years ago
Jyuriaano - Dreaming Glass

An’archives present the debut album by Tokyo avant-pop duo Jyuriaano, Dreaming Glass. Consisting of Morimoto Ariomi and Cobalt, the two members of Jyuriaano have long histories in Japanese underground music. Morimoto’s history traces back to the late nineties; his nascent interests in noise collage and solo acoustic performance slowly transmuted to group endeavours, and more recently he’s performed with the likes of Akiko Toshimitsu (Usurabi), Maki Miura (Shizuka) and Doronco (Los Doroncos).

Cobalt has released a string of excellent singer-songwriter albums, many on his Poet Portraits label, which has also released material by the likes of Kazumi Nikaido, Place Called Space, Cuthberts, and moools, the latter of which he also performs with on occasion. While Morimoto and Cobalt have known each other for decades, they decided to form Jyuriaano in 2016, and since then have performed at live houses and small bars in Japan, all while slowly working together on their gentle, spirited songs.

The group’s formation story is typically playful – “It all started when we brought an acoustic guitar into the car on a rainy afternoon and started writing songs while eating Japanese sweets,” Cobalt recalls. That sense of play is important to the songs on Dreaming Glass, which vary wildly, from bright, infectious pop songs with a sixties lilt (“Dreaming Baby”, “How Close”), through slinky jazz-pop numbers (“Drawing A Nude”) to melancholy folk laments (“Erica”, “Night Window”). There’s something in Jyuriaano’s collaborative dynamic that gifts Morimoto and Cobalt a particularly open field, when it comes to their creative endeavours.

Some of this might also be down to their listening habits. When asked about their interest in Japanese folk precursors, legendary groups like Folk Crusaders and Itsutsu-no-Akai-Fusen, Cobalt agrees that they have a place in the duo’s listening pantheon, but that’s not where the story ends. “We’ve also listened to commercial folk music outside of those core genres,” he reflects, “We don’t just listen to one genre, but also rock and roll, noise industrial, punk, new wave, jazz, chanson, and more.”

You might also hear touches of groups like the forementioned Usurabi, or Maher Shalal Hash Baz, or songwriters like Kazumi Nikaido and Shintaro Sakamoto. But Jyuriaano’s songs, somehow, feel quite sui generis in the way they magic up alternative visions for pop’s possibilities. Dreaming Glass is, quite simply, a lovely, unpretentious joy of an album.

pre-ordina ora20.06.2025

dovrebbe essere pubblicato su 20.06.2025


Last In: 2026 years ago
Yzoula & Louis Fontaine - Des Animaux Pires Que Moi LP

Welcome to midnight. Let’s light a candle and take a trip. The Moon is calling…

Broc Recordz is proud to present "Des Animaux Pires Que Moi", the new album by Yzoula and Louis Fontaine.
After four years performing with La Femme, Yzoula takes center stage in this unique project, composed and produced by Louis Fontaine, with lyrics by Margo Fortuny.

Dive into a musical odyssey blending French songwriting, classical music, and psychedelic pop-rock, infused with ’60s and ’70s sounds.
A captivating sonic tale of alchemy, black magic, and the power of illusion, drawing inspiration from occult beliefs, 1970s pulp paperbacks, and the portrayal of witches in cinema.

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Jean-Marie Mercimek - Dans Le Camion De Marguerite Duras

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

pre-ordina ora13.06.2025

dovrebbe essere pubblicato su 13.06.2025


Last In: 2026 years ago
LIZ OVERS - Nightjar

Liz Overs

Nightjar

12inchLO001LP
Liz Overs Records
06.06.2025
  • 1: Prayer To The Year
  • 2: Patterns
  • 3: Cruel Sister
  • 4: Bramble Briar
  • 5: Snow Moon
  • 6: Fair Maid
  • 7: Alleyways
  • 8: Bad Girl
  • 9: Fairy Charm
  • 10: Yellow Horned Poppy
  • 11: Honeysuckle On The Vine
  • 12: Nightjar

A tangle of word and melody, old and new, NIGHTJAR evokes journeys along ghostly paths, country lanes and starlit shorelines, alive with shimmering patterns of a flowing tide. Stories of childhood, of loves and rivalries, fair maidens, cruel sisters and winged sorcerers are interwoven with glimpses of the natural world. NIGHTJAR is Liz Overs' debut solo release, having previously been signed to Atlantic in the late '90s as part of indie-dance crossover band Pocket Size, and she was also lead singer and songwriter for the Sussex-based folk band Chalk Horse Music.
Liz's haunting, unaccompanied version of The Birds in the Spring was featured in Dylan Howitt's award-winning documentary The Nettle Dress, and she performed live at several key screenings of the film in the UK.

Standard weight single black vinyl LP in picture sleeve

pre-ordina ora06.06.2025

dovrebbe essere pubblicato su 06.06.2025


Last In: 2026 years ago
SALLY ANNE MORGAN - SECOND CIRCLE THE HORIZON

Sally Anne Morgan is an artist and naturalist in the purest senses. Raised on old time and Appalachian folk traditions, Morgan"s artistry embodies the rich life of the communities and natural world she surrounds herself with. Based in Alexander, NC on the edge of Appalachia and the Pisgah National Forest, Sally"s blend of traditional technique and distinctly modern compositional approach are infused with the sounds of her garden, surrounding pastures, forests and mountains. Guest synthesis Sean Dunlap (Field Patterns) and hurdy-gurdy player Brian "Geologist" Weitz (Animal Collective) embellish pieces with droning thrums and sonic moss. Second Circle The Horizon is an album built on Morgan"s singular artistic voice as an improviser and composer intertwined with deft intuition. Morgan"s music highlights her bond with nature, and how its beauty and the beauty of artistic creation are interwoven. The album celebrates creation, revels in discovery, and marvels at the complex patterns, intersectional cycles and simple beauty of a creative life intertwined with the natural world.

pre-ordina ora20.06.2025

dovrebbe essere pubblicato su 20.06.2025


Last In: 2026 years ago
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