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A Colourful Storm begins 2024 with a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city… 'Dru' is the name of a well-known peak near Chamonix". Opener 'Largo' sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of 'Rambler' is perhaps the most poignant expression of longing and loss we've heard in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.

Brand new album from Rimzee with a host of exciting features. The UK artist has left an undeniable imprint in the rap landscape since the release of his acclaimed debut project, The Upper Clapton Dream, in 2012 -- a tape that boasts longevity and culture --with the follow up Upper Clapton Dream 2 releasing in 2020, containing 13 songs and features from the likes of Potter Payper, M24, Ay Em, Snap Capone and Stardom amongst others.

Last year saw Rimzee release his most complete body of work yet in Cold Feet, spanning eighteen immaculately curated tracks exploring past pain and trauma -- charting independently at #11. Joined by the likes of K-Trap, Giggs, Emeli Sande, Maverick Sabre, Nemzzz and Tiggs Da Author, Cold Feet was a landmark release, demonstrating Rimzee's versatility and position in the scene, calling on a string of A-List rappers and artists to join him on this musical journey.

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

Warehouse Find!

Azymuth drummer Ivan 'Mamao' Conti's forthcoming self-titled solo project, remixed by West London broken beat pioneer IG Culture for a scorching club monster, alongside three future-funk remixes from 22a records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa.

Ivan 'Mamao' Conti is one of the greatest drummers on earth. A true rhythmic innovator, he is Brazil's answer to Tony Allen, Steve Gadd, and Bernard Purdie (no small claim considering the country's famed samba connection). Known by most as one third of Azymuth, his career spans far beyond with over half a century's worth for recordings with the likes of Milton Nascimento, Eumir Deodato, Marcos Valle, Hyldon, Gal Costa and Jorge Ben. More recently Mamao recorded an album with hip-hop royalty Madlib under the shared moniker 'Jackson Conti'.

Now aged seventy, Mamao's work ethic is as strong as ever. In anticipation of a new Ivan Conti solo album set for release in 2017, Far Out Recordings have commissioned a series of remixes to be spread across two separate 12's. The first is a strictly London affair, with a fiery broken-boogie club monster from West London pioneer IG Culture, joined by the signature future-funk of 22a Records family Tenderlonious, Reginald Omas Mamode IV and Jeen Bassa. The second 12' will host remixes from Max Graef, Glenn Astro and Contours.

Repress.

Studio One's music in the 1970's took the label to new heights. The new style of Disco Mix brought many areas of Reggae together ­ Roots, Lovers, Disco and Dub all came together in extended form, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn-drums and more producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records.

This Studio One Disco Mix album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as it's infamous Music Lab 10"s out of New York) and consequently many of these track s have been unavailable since their day of release. Studio One Disco Mix features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo and Willie Williams (with his classic re-versioning of his own "Armigideon Time") alongside less well artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley and many more.

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Almost two years to the date of the release of their breakthrough album, Citizen return with their highly anticipated follow-up full-length, Everybody is Going to Heaven. Haunting these ten songs is a foreboding, dark atmosphere masterfully crafted by producer Will Yip, and an immediate, intense energy is palpable from even the first grimy seconds of the opener, "Cement." As with every one of Citizen's releases, Mat Kerekes' signature vocal delivery here is a trademark feature, demonstrating the emotional tension that boils over on this release. As cathartic as ever, he duels between a soft croon and a haunting scream, confronting his demons on tracks like "My Favorite Color" echoing the tormented refrain, "my heart still beats for nothing". And while most of the record is an intense and noisy onslaught, songs like "Heaviside" and "Yellow Love" act as armistices, each aching in reverb-drenched consonance. Everybody is Going to Heaven is a turning point for Citizen: once regarded as newcomers with undeniable potential, the band shows here that they have matured both abruptly and uniquely, with no end to their upward trajectory in sight.

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

What can you say about the bass playing (and way more) legend that is Ade Shaw? During a long and mind-altering career, Ade has played with many outfits, most notably psych warlords Hawkwind, for whom he provided his trademark basslines for several years in the mid 70s. He has also played with Atomic Rooster (albeit briefly), Magic Muscle, Rustic Hinge, The Hawklords, Keith Christmas, Mike Moorcock’s Deep Fix and many more. More recently, (well, the last 30 years actually!) he has been the bass player in The Bevis Frond. For the last year or two, however, he has had to stand down from touring and gigging for personal reasons, but happily this has not prevented him from recording a new album. So it is with great pride and delight that we are now able to release ‘A Dark Reflection’ on Blue Matter. Eleven brand Adrian Shaw new songs ranging from out and out psychedelia, through rock to even a splash of lilting balladry. With Ade playing all the instruments bar a couple of guest appearances from Nick Saloman & Bari Watts, this is the Ade Shaw album we’ve all been waiting for. It’s a real stormer, and it’s a great privilege to be able release it on our label. Give it a listen & hopefully you’ll see what we mean

Kick starting 2024 with intent, Berlin’s Pure Hate Trax starts the year in style with a pure power 4 track EP by Tripped. Hailing from Belgium, Francis Jaques started his journey at the tender age of 15 and quickly become A key figure in the underground rave & hardcore scene and up to now has celebrated over two decades of relentless dedication to the industry. While deeply rooted in Hardcore Techno, Tripped style is not limited to a certain genre. Always staying true to his gut, he keeps innovating his sound by using both analog and digital techniques, often with a wink to the pure and raw sound of the 90’s, dark, moody and kick-drum heavy. His label Madback Records, an outlet for his own productions has also seen contributions from the likes of Slave To Society, The Outside Agency, KRTM, Waldhaus, Mickey Nox and Umwelt. Aside from the music he also creates abstract paintings and mixes graphic design to showcase a truly unique collaboration of both artwork and music. As a DJ Francis is considered one of the most diverse acts from Belgium. His raw and powerful sets range from Rave, Techno, Industrial, Acid to Gabber and Old School Terror has seen him perform all over the world and at major events such as Thunderdome, Masters Of Hardcore, Tomorrowland, Bangface, Defqon.1, Kompass Klub, Dominator, Astropolis, Decibel and many more.

Reggae and Jamaican music have long embraced a symbiotic relationship with the movies. Rooting back to the island's golden era, countless arrangements have either been direct covers, or inspired by, the musicality and mood found in both cinema and television. These reinterpretations would become part of the backbone of the instrumental sound that accompanied the Jamaican record industry's acceleration from the mid-60s and beyond. Talented young musicians, rising from Alpha Boys School and the early studios of Coxsone, Duke Reid and others, found a showcase for their unique playing style on hundreds of different recordings, while appealing to the country's own love affair with Westerns, James Bond canon, and other rebellious themes and motifs that were projected from Hollywood during this time.

In this same tradition, in a new interval, arrives the debut release of Anant Pradhan and Larry McDonald, the latter a master percussionist with direct participation in some of Jamaica's earliest recordings. McDonald, although often uncredited, was a legitimate influence in helping to bridge the Afro-Caribbean sound from calypso into ska and later reggae with his iconic style on hand drums and percussion. A kindred spirit of McDonald, despite 50 years separating them, Anant Pradhan is a bonafide member of the next generation. Although this is his first "solo" record, the talented saxophonist has already played on dozens of incredible sessions for the likes of Victor Axelrod, The Inversions, Andy Bassford, Channel Tubes, Ralph Weeks and Combo Lulo. As an official member of the current touring group of the legendary Skatalites, Pradhan has honed his musicianship under some of the greats of reggae music. His particular soulful, instrumental arrangements are an homage to that influential era of Jamaican music. Pradhan and his band's performance retain the skill and innovation of the old vanguard, and like the generations before, capture a magic that may only be possible when cinema goes reggae.

A cult favorite from A Nightmare Before Christmas, Danny Elfman's "Sally's Song" was immortalized in Tim Burton's 1993 classic stop-motion film. It's immediately recognizable in all its haunting charm, and now, Pradhan and McDonald have managed to transform it into an irrefutable reggae classic, reinvented with its melancholic lead sax and bombastic percussion. The prolific Henry Mancini is already entrenched in the Jamaican canon, yet nobody has knowingly attempted to recreate one of his most magical numbers, "Meglio Stasera" aka "It Had Better Be Tonight," that of the riveting one-take scene in 1963's The Pink Panther. The galloping percussion of the original is transposed through a cloud of smoke, slow and low in a roots style at the hands of McDonald. Pradhan's sax leads the way over the locked-in rhythm section, both deep and cheeky all at once. These first two productions of Anant Pradhan and Larry McDonald are a deserving entry into the canon of reggae covers, and are equally adept to be heard on the screen and or at the dance alike.

A pioneer in his field, Etienne de Crécy remains more than ever one of the pillars of house music made in France. In his three-decade career, the French producer has recorded some of the world's most important electronic music albums, including Tempovision, released in 2000, arguably his mostaccomplishedto date.

"The 'Kashkaval EP' marks DJ 3000's fourth vinyl release, stemming from his acclaimed 'Mezë' album.

This EP encapsulates DJ 3000's evolution, weaving a narrative from his Albanian heritage to his current thriving career. 'Kashkaval EP' stands as his most intimate and comprehensive work to date, embodying a profound musical odyssey. It extends an invitation to all, urging them to partake in a celebration of diverse cultures and a symphony of sound that transcends geographical boundaries. Through meticulously crafted tracks, it guides listeners on a shared and cherished voyage, forging connections through the universal languages of music, culture, and food.”

Kashkaval - Is a cheese originating from the Balkans. When producing this electro track, it all came together quite swiftly, to be honest. I only needed one final element to complete it. Coincidentally, my dad was discussing this cheese at the time, so I recorded him talking about it on my phone and seamlessly integrated it into the track. I applied various effects and kept it subtle in the mix, making it almost unrecognizable in Albanian. The chords fell into place after that.

Constant Sorrow - This song took shape during the pandemic. I had nearly completed the concept, and for some time before that, I had been in conversation with producer and vocalist Keith Caden. I believed his vocal talents would be a perfect fit for this track. I shared the track and its title with him, and he subsequently wrote the vocals, even contributing harmonica and a few other embellishments. I'm particularly fond of this electro-style track, and Keith's vocals truly bring a unique and special dimension to it.

From The Ashes - Electro played a significant role in this album. When I mention electro, it's not the typical style of tracks but rather a more unique approach. The vocals on this album truly infuse profound meaning into the songs, and I have a deep appreciation for the way the chords resonate and create a dynamic bounce in the tracks.

Crown Royal - There's an amusing backstory to the essence of this track. "Crown Royal" harkens back to a liquor we used to enjoy back in the day. We'd have our Crown Royal and pair it with those Black & Mild cigars – quite the combo! This track was born from the memories of those late-night drives back home from the club.

Dark Machine Funk is delighted to welcome the first guest producer into the fold, Head Front Panel. A huge source of inspiration to DMF since those highly sought after HFP 12”s hit the record store racks in 2014, Head Front Panel delivers a superb well rounded 4 track EP titled ‘Tactile’ for DMF’s 5th release.

The opening track 'Panama' opens with some otherworldly pads, sweeping resonances tickle the ear before signature HFP drums hit you with pure engaging energy. Broken kick drums and rattling percussion perfectly sit on this hypnotic tribal-esque sonic dream, a depth and area that we've not heard from HFP before. 'Tactile' brings the perfect tool, loopy rhythms that stretch the perception of time whilst getting lost in subtle rides and eerie door creaking atmospheres, deep listening will provide a new journey on every repeat. 'Surdo' open's side B, and we're catapulted into the fire with shaker/hi hat percussions that grab your attention immediately and vocal samples scatter across the stereo field. Shimmering pads take the track into deeper territory but all while keeping in a constant state of forward motion accented by the occasional double kick drum. A huge baseline swings the track to give it it's funk. 'Them' probably the most recognisable HFP track hammers with a thunderous kick drum and a subtle repetitive synth line, groove is king here where percussion elements are pushed and modulated to create enough interest to carry the track through till close.

We are more than honoured to present ‘Head Front Panel - Tactile’ on DMF!

Cassete comes with 3 extra panels of artwork from Ciaran Birch

Outerwordly collaboration between two great artists at the forefront of their scene, a release that was sparked by a commission from the BBC!

Dali de Saint Paul is known for her vast amount of collaborations, most notably with Moor Mother & Valentina Magaletti.

Maxwell Sterling's previous work includes sublime & diverse albums on The Death Of Rave & AD93.

When they met to create an improvised session for the famous experimental music radio show Late Junction on BBC Radio 3. Their encounter was so prolific that day that a lot of their music was not played on the show, so they have decided to give their audience the chance to listen to the fragile, brilliant and dark composition they have produced together.

Nasti, the people’s favorite, is back with their third album of misanthropic hardcore punk. Sure to delight the senses of the senseless with thudding violence and irritated vitriol. It is the band’s opinion that humans are mostly garbage and this record reflects that sentiment wholeheartedly. “People Problem” is musical equivalent of Jack Nicholson in The Shining methodically/maniacally typing: I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you. I don’t like you

Available on vinyl LP & CD (with extra tracks). Robin Way has been making psychedelic music for decades under the name Oak Acetator. Mostly home recorded, Oak Acetator’s world of sound encompasses an intoxicating mix of psychedelia, punk, space rock and pop, with the emphasis strongly on hallucinogenic psych. ‘Power Trip’ is Robin’s seventh album, his previous six coming out on the hallowed Dig The Fuzz label, though strangely, none of his work appears on Discogs! Robin wrote, produced and played everything on ‘Power Trip’ in his Folkestone attic studio, and it is a work of crazed brilliance. Respected musician and writer Louis Wiggett summed it up succinctly when he said of Power Trip ‘Oh, that bonkers genius from Folkestone, can’t get enough of it. So good, almost sounds like a cosmic Stooges with synths and deadpan humour. Love it!’ And he’s absolutely right. Robin exudes his unique, very British style from the first moment to the last, sounding at times like Johnny Rotten backed by Hawkwind, but with touches of Gong and Krautrock thrown in for good measure, but really just like himself. It’s a total joy to be able to put this deranged masterpiece out on Blue Matter. We adore it, and we hope you will too

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed on Neon Yellow Vinyl, 4x platinum 1999 #1 album Steptacular includes the UK number one Tragedy, plus the
classic hits Love’s Got a Hold on My Heart, Deeper Shade of Blue, Say You’ll Be Mine, After the Love Has Gone and
When I Said Goodbye.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed on Neon Yellow Vinyl, 4x platinum 1999 #1 album Steptacular includes the UK number one Tragedy, plus the
classic hits Love’s Got a Hold on My Heart, Deeper Shade of Blue, Say You’ll Be Mine, After the Love Has Gone and
When I Said Goodbye.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs. “Werk Road (1997 MPC 60)” is the third volume of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

1997 is when the name Hi-Tek began to develop a global buzz, largely due to the combustible indie-rap scene. He’d moved on from the now-shuttered Beatbox Studios in his hometown of Cincinnati and began building his first proper home studio in his new apartment on Werk Road. With a borrowed Akai MPC 60 drum machine as the foundation, he began churning out beats at a more prolific rate than ever.

In addition to placements on debut LPs by Mood and Royal Flush, Tek would make his name in 1997 as one-half of the duo Reflection Eternal with Brooklyn MC Talib Kweli. Their Rawkus Records debut 12” “Fortified Live” was an instant smash, and it quickly placed him at the top of the class of up-and-coming beatmakers. His unique balance of bassline-driven grooves behind soulful samples would eventually lead him to be in high demand for artists across the spectrum of the genre, and in short time he was producing for Common, Snoop Dogg, Raphael Saadiq, Dr. Dre, 50 Cent, and others from all over the country.

The work featured on “Werk Road (1997 MPC 60)” reveals an artist who would not only become one of the most respected producers in rap, but one of the cultural ambassadors of his home city of Cincinnati for over 25 years. In 2022, Hi-Tek was inducted into the Cincinnati Black Music Walk of Fame alongside luminaries like The Isley Brothers, Bootsy Collins and Midnight Star, and remains the most successful hip hop artist that the city has ever produced.

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

Vinyl Only Release lim. to 500 copies worldwide!

There are mysterious records. Records hiding and showing something at the same time. This is one of them. It is made from two records that were most probably released in the mid-1970s, most probably primarily by Turkish Roma.
It brings together what Anadolu pop music lovers always dream of: Anatolian geleneksel (traditional folk tunes), disco and funk, jazz and hard rock, psychedelic sounds, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks. Put together in a careful, smooth production with a warm, relaxed and dance-friendly vibe.
Here you get it: Roma-nized instrumental Turkish pop music in all its facets of the 1970s.

Suburban Architecture are pleased to announce the third in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), and #002 (featuring Blame and DJ Trace), edition #003 features remixes from two further legends in the scene, Nookie and DJ Crystl.

Nookie needs little introduction. From early 90s Hardcore through to present day heavy hitters via a string of mid 90s classics, Nookie has had an enviable career in the genre. Having recorded for seminal labels that heavily influenced the Suburban Architecture sound: Reinforced, Moving Shadow and Good Looking, Nookie was an obvious choice for this remix package. On this release he takes 2021's 'Renegade Horns' to more dancefloor oriented territory with an energetic roller that marries classic drum breaks with a contemporary production feel.

DJ Crystl is also a name with a storied history in Drum & Bass. Also releasing music since the early 90s, Crystl has seen releases on influential labels, Lucky Spin, Dee Jay Recordings, Moving Shadow and iconic US Hip Hop imprint Payday. Crystl's remix of 2020 Suburban Architecture cut 'New Horizons' carries classic 1994 flavour, delivering an extended, Amen-laced rework of the original, full of classic Intelligent sonics.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Gently Down Your Stream marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and '70s. The Four Mints were one of the most influential local group harmony outfits of their era and - with assistance from Columbus doyen and Capsoul purveyor Bill Moss - among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973's Gently had been previously released as 45s, the collection - five singles and one priceless track saved from the scrap heap - gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.

Complete Album + 6 Bonus Tracks. Known as the "King of the Slide Guitar," Elmore James was the most influential slide guitarist of the postwar period. His music went far beyond his premature death in 1963 at the age of forty-five. He was credited with helping to invent blues rock and his style influenced a generation of blues-rock players like Eric Clapton, Peter Green, Duane Allman, and The Rolling Stones. Blues After Hourswas James' debut album, and one of the greatest blues albums of all-time. "Blues After Hours, originally released on LP by Crown in 1960, was Elmore James' first long- playing record. The crunchy garage sound of James' arrangements coupled with his passionate edgy vocals, quickly made him one of the most influential blues artists of his time." - AllMusic, 4.5 STARS

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

My first EP, June McDoom, was hugely inspired by the minimal sound of the 60s and 70s folk era. I wanted to reimagine a couple of those songs more stripped down as a follow up to that first EP. Judee Sill's songwriting and arrangements have impacted me deeply, and so I hoped to honor the music she made by recording a version of her song, "Emerald River Dance" - one of my favorite songs for many years and a song I still sing at most of my shows. The first time I heard "Black is the Color" was Tia Blake's version that she recorded in 1971, and then Nina Simone's performance inspired me to try and record a rendition of mY own. While writing "On My Way" and "The City," I always imagined versions of those songs stripped down with three-part harmonies, which I was finally able to do here with dear friends, Cécile McLorin Salvant and Kate Davis, who have both been big inspirations to me throughout the years. One of my close friends, Sam Weissberg - who I met while studying in jazz school when I first moved to New York City - worked with me and arranged the harp and strings for each song. I produced the songs and tracked the remaining instruments and vocals with Evan Wright at our new studio in Greenpoint, Brooklyn that we share with our friend, Nick Hakim (who also provided backing vocals on "On My Way").

My first EP, June McDoom, was hugely inspired by the minimal sound of the 60s and 70s folk era. I wanted to reimagine a couple of those songs more stripped down as a follow up to that first EP. Judee Sill's songwriting and arrangements have impacted me deeply, and so I hoped to honor the music she made by recording a version of her song, "Emerald River Dance" - one of my favorite songs for many years and a song I still sing at most of my shows. The first time I heard "Black is the Color" was Tia Blake's version that she recorded in 1971, and then Nina Simone's performance inspired me to try and record a rendition of mY own. While writing "On My Way" and "The City," I always imagined versions of those songs stripped down with three-part harmonies, which I was finally able to do here with dear friends, Cécile McLorin Salvant and Kate Davis, who have both been big inspirations to me throughout the years. One of my close friends, Sam Weissberg - who I met while studying in jazz school when I first moved to New York City - worked with me and arranged the harp and strings for each song. I produced the songs and tracked the remaining instruments and vocals with Evan Wright at our new studio in Greenpoint, Brooklyn that we share with our friend, Nick Hakim (who also provided backing vocals on "On My Way").

Founded in Amsterdam by Cyb and Elisa Batti, Immaterial.Archives is driven by the desire of exploring the boundaries of electronic music.
The label always strives to innovate, while bringing on board the most talented producers from the underground contemporary techno scene.

On the 23rd of February (IA026) CALDERA will be out in all the best record stores and digital platforms.
It includes six mesmerizing original tracks created by DIVIDE and GOTSHELL

Music is ephemeral, always disappearing. It is an immaterial archive.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Ennio Morricone is known throughout the world for the Italian Western genre, but most of all for his famous soundtracks for Sergio Leone’s

masterpieces which have entered into popular culture on an international level, and here represented by iconic themes such as

A FISTFUL OF DOLLARS (1964), FOR A FEW DOLLARS MORE (1965), ONCE UPON A TIME IN THE WEST (1968), A FISTFUL OF DYNAMITE (1971) with extraordinary

soloists such as the whistle of Alessandro Alessandroni, the harmonica of Franco De Gemini, and Edda Dell’Orso’s soprano voice.



For the Westerns starring the legendary Giuliano Gemma - A PISTOL FOR RINGO and THE RETURN OF RINGO - both directed by Duccio Tessari, he wrote the songs

“Angel Face” (with lyrics by Gino Paoli) and “The Return of Ringo” respectively performed by Maurizio Graf with pop music arrangements that were popular at the time.

With PISTOLS DON’T ARGUE (1964) Morricone experiments with a still undefined pre-Leone sound, DEATH RIDES A HORSE (1967) presents a main theme for

guitars ostinatos, exotic flutes and choir. For LIFE IS TOUGH, EH PROVIDENCE? Ennio Morricone creates a theme that mixes religious elements for a female choir

with modern arrangements. And A FIST GOES WEST (1981) a late Western in which the composer himself interprets the Indian’s screams.

Always timely reissue of Muqata'a's first self-released EP from 2017. After years of fertile digital existence on his own Bandcamp, 'La Lisana Lah' now gets a much deserved tactile version through Souk, the Discrepant sublabel responsible for the already classic 'Inkanakuntu'. One of the most prominent figures of the Palestinian electronic scene, Muqata'a's trajectory has been one of resistance and urgency, leaving a sonic imprint of his own from pretty much the beginning.

Without anything tentative or vestigial about its sonic fictions, 'La Lisana Lah' deploys an arsenal of Muqata'a's traits that would be explored on subsequent releases: the glitchy thick textures verging on noise of 'Tib Al Huroof', the narcotic broken beats of 'Taqdirahu Anta' and 'Zyadet Naqs' or the alluring disruptive harmonic suspension of 'Dijla Wal Fada', everything cared for with an essential attention to space and evoking the heritage of Palestinian resistance through his use of samples and scales. A visionary from the get go.

A very "MGMT MGMT album" which the band describes as "a group of songs about love and change, first and foremost." Descriptors from the band include: bold, flavorful, playful, sincere, optimistic, perceptive. Loss Of Life was produced by MGMT and Patrick Wimberly (Solange, Lil Yachty, MGMT), with mixing and additional production by Dave Fridmann (Flaming Lips, Interpol, Spoon). The album includes the first ever MGMT song with a feature, courtesy Christine and the Queens. The album artwork has been licensed from John Baldessari's estate and is an artwork titled Noses & Ears, Etc. (Part Two). Formed in 2002, MGMT released their era-defining debut album Oracular Spectacular in 2007. One of the most influential albums of the '00’s - it went on to sell over 2 million copies worldwide and was certified Gold or Platinum in over 10 major territories, including double platinum in UK, Platinum in Australia, Gold in France and Platinum in the USA. It gave the world evergreen hits such as “Kids”, “Electric Feel” and “Time to Pretend” which have inspired, and continue to inspire new generations of artists and music fans alike to this day - those three songs combined have been streamed over 2 billion times on audio streaming platforms since released. Always taking an unexpected creative turn at every new record, but always maintaining their cultural and commercial relevance over the subsequent 15 years, MGMT later released three further studio albums: “Congratulations” (2010), “MGMT” (2013) and “Little Dark Age” (2018).

Introducing Atoll: Unleashing the Unrelenting Power of extreme Metal... Prepare for an auditory assault like never before as extreme metal band Atoll is set to unleash their bone-shattering new double Album "Human Extract/Inhuman Implants." With brutal grooves, guttural vocals, and a relentless onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. "Human Extract/Inhuman Implants" is a merciless dive into the darkest depths of the human psyche. Drawing inspiration from the macabre and the unknown, Atoll's latest offering takes listeners on a spine- chilling journey. With hauntingly atmospheric lyrics, the band delves deep into the horrors of this otherworldly experience, creating a musical narrative that will leave fans on the edge of their seats. True to their signature style, Atoll unleashes a sonic tempest upon the listener, combining relentless blast beats, blistering guitars, and soul-crushing basslines. The guttural vocals pierce through the dense wall of sound, delivering a sinister intensity that adds a chilling layer of malevolence to the composition. "Human Extract" showcases the band's exceptional musicianship and their unwavering commitment to pushing the boundaries of extreme metal. Atoll has amassed a loyal following through their relentless live performances and uncompromising dedication to their craft. Their ability to conjure an electrifying atmosphere that grips audiences, coupled with their unmatched stage presence, has earned them a reputation as one of the most formidable forces in the metal scene. With "Human Extract," Atoll proves once again why they are at the forefront of the Extreme metal movement. "We wanted to create a sonic experience that would engulf listeners in an eerie atmosphere, where the boundaries between reality and the unknown blur," says Wade Taylor the band's vocalist. "With 'Human Extract,/Inhuman Implants' we aimed to capture the essence of fear and vulnerability, delivering a musical journey that mirrors the horrors of alien abduction and the horrors of earth and man. It's an intense, cathartic exploration of the human condition." -Atollbone-shattering new Album "Human Extract." With brutal grooves, guttural vocals, and a relentless
onslaught of sonic chaos, Atoll continues to redefine the boundaries of the death metal genre. Beautiful
bloodwork petri dish colored vinyl in gatefold sleeve.

Here is our 14th issue, one of the most special. A creation born from the very heart of the rave. Made by ravers for ravers,

Dedicated to all of us who live in the rave.

One half experimenting with new styles not tried before, and the other half proving that when it came to progressive rock, they had few equals. It perfectly represents the versatility, sense of humour and compositional genius of this most singular of bands. Including the same personnel that had recorded the previous years In'terview - Derek Shulman, Ray Shulman, Kerry Minnear, Gary Green and John 'Pugwash' Weathers, and yet it felt different. Marking a change in direction following their successful In'terview tour, the album received mixed reviews upon its initial release, but has since grown in stature, praised for its forward-thinking sound and experimental nature. We are now pleased to present this record in its full glory and the best it's ever sounded.

Continuing his association with Gentle Giant, award winning producer and musician Steven Wilson has remixed The Missing Piece.His tonal range and painstaking attention to sound quality gives the album a fresh and exhilarating sonic lift.

The Missing Piece by Gentle Giant, released 23 February 2024, includes the following tracks: "Betcha Thought We Couldn't Do It", "Mountain Time", "Memories Of Old Days", "For Nobody" and more.

This version of The Missing Piece comes as a 1xLP.

Finnish heavy-hitting psych machine Craneium returns with "Point Of No Return". The band's fourth album is their most ambitious one yet, washing over you through a constant ebb and flow of fuzzy heaviness, complemented by melodies and atmospheric passages. With the songwriting expanding upon the Craneium sound with atmospheric guitar leads and heavy riffing, the dynamics have become more polished and clean. Conceptually, "Point Of No Return" deal with the climate catastrophe and the responsibility of mankind for planet Earth.

For fans of Lowrider, Skraeckoedlan, Lucifer, Mars Red Sky, Demonic Death Judge, and Alice In Chains.

"Point Of No Return" by Craneium includes the following tracks: "A Distant Shore", "Things Have Changed" and more.

Finnish heavy-hitting psych machine Craneium returns with "Point Of No Return". The band's fourth album is their most ambitious one yet, washing over you through a constant ebb and flow of fuzzy heaviness, complemented by melodies and atmospheric passages. With the songwriting expanding upon the Craneium sound with atmospheric guitar leads and heavy riffing, the dynamics have become more polished and clean. Conceptually, "Point Of No Return" deal with the climate catastrophe and the responsibility of mankind for planet Earth.

For fans of Lowrider, Skraeckoedlan, Lucifer, Mars Red Sky, Demonic Death Judge, and Alice In Chains.

"Point Of No Return" by Craneium includes the following tracks: "A Distant Shore", "Things Have Changed" and more.