quête:noi!se

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Beneath the Massacre hit a sweet spot on this EP, avoiding several banalities and pitfalls that the genre is known for. There isn’t an obnoxious overuse of directionless wank and breakdowns. In fact, both are put to use as good songwriting techniques in applying some semblance of dynamic. The songs always seem to have a purpose and a realized direction. Marée Noire just feels right on just about every level. The production lends to a beefy and chaotic atmosphere where the low, thundering riffs and blasts of double-bass will certainly put subwoofers and good headphones to ample use. Beneath the Massacre provide what is in my opinion the right kind of brutality and heaviness. – HeavyBlogIsHeavy

Beloved American Rock band The Early November have announced album "Twenty" set for release on 14th October on Pure Noise Records. "Twenty" effortlessly straddles the divide between then and now, its 10 songs casting a backwards glance at the days and years gone by, while also looking forward to the future. A collection of both brand new tracks and older ones written during the course of the band’s life to date, the result is something of a paradox: this both is and isn’t a new Early November record.

Louisville, KY hardcore conquerers, Inclination, have announced their debut album, Unaltered Perspective, due out June 24th via Pure Noise Records. Unaltered Perspective proves why Inclination have been turning so many heads in their relatively short existence. The album features a seemingly endless well of vicious riffs courtesy of guitarists Caleb Murphy and Isaac Hale (who also plays with heavyweights Knocked Loose), while bassist Peter Katter and drummer Christopher Mills provide an earth-shaking foundation. And the towering sound is the perfect delivery system for vocalist Tyler Short's roaring voice and pointed lyricism.

Louisville, KY hardcore conquerers, Inclination, have announced their debut album, Unaltered Perspective, due out June 24th via Pure Noise Records. Unaltered Perspective proves why Inclination have been turning so many heads in their relatively short existence. The album features a seemingly endless well of vicious riffs courtesy of guitarists Caleb Murphy and Isaac Hale (who also plays with heavyweights Knocked Loose), while bassist Peter Katter and drummer Christopher Mills provide an earth-shaking foundation. And the towering sound is the perfect delivery system for vocalist Tyler Short's roaring voice and pointed lyricism.

To confuse parts for the whole is inevitable with Palm. Drummer Hugo Stanley, bassist Gerasimos Livitsanos and guitarists/vocalists/high school sweethearts Eve Alpert and Kasra Kurt started making music together as teenagers, and spent much of their twenties in the kind of proximity unusual for adults, outside of touring bands and the International Space Station. For a number of years the band consumed the lives of its members to a point of exhaustion: “To be honest I think we got a little burnt out. There were times where it wasn’t clear if we’d make another record,” says Alpert. It was only after multiple freak injuries followed by a pandemic, forced a pause - from touring but also from writing, rehearsing, even seeing each other- that the four were able to regroup and see a way forward again.



On their latest effort, Nicks and Grazes, Palm embrace discordance to dazzling effect. “We wanted to reconcile two potentially opposing aesthetics,” Kurt says. “To capture the spontaneous, free energy of our live shows while integrating elements from the traditionally gridded palette of electronic music.” In order to avoid what Kurt refers to as “Palm goes electro,” the musicians spent years educating themselves on the ins and outs of production by learning Ableton while also experimenting with “the percussive, textural, and gestural potential” of their instruments. To this end, the band continued the age-old tradition of instrument-preparation, augmenting guitars with drumsticks, metal rods and, at the suggestion of Charles Bullen (This Heat, Lifetones), coiling rubber-coated gardening wire around the strings. The unruliness of the prepared guitar on songs like “Mirror Mirror” and “Eager Copy” contrasts with the steadfast reproducibility of the album’s electronic elements.



While Palm cite Japanese pop music, dub, and footwork as influences on this album’s sonic palette, they found themselves returning time and again to the artists who inspired them to start the group over a decade ago. “When we were first starting out as a band, we bonded over an appreciation of heavy, aggressive, noisy music,” Alpert reflects. “We wrote parts that were just straight-up metal.” Kurt adds, “I found myself rediscovering and re–falling in love with the visceral, jagged quality of guitars in the music of Glenn Branca, The Fall, Beefheart, and Sonic Youth, all important early Palm influences.” Returning to the fundamentals gave Palm a strong foundation upon which they could experiment freely, resulting in their most ambitious and revelatory album to date.

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Trumpeter, producer and composer Rory Simmons summons his
iconoclastic musical vision on the genre-blurring Monocled Man album,
'Ex Voto'
Here, the omni-appreciative trio (Simmons, Chris Montague and Jon Scott) travel
down a groove- adjacent pathway in search of solemn industrial
soundscapes.Simmons' cultural inquisitiveness forms a treasure-trove of musical
touchstones, which he uses to sculpt a sound that's truly his own. 'Ex Voto' ('an
offer given in order to fulfil a vow') represents another idiosyncratic journey, this
time inspired by Victorian novelist Samuel Butler and his work of the same name.
The themes found in both Ex Voto and Butler's magnum opus Erewhon punctuate
the album, as the trio conjure visceral musical excitement from base ideas on
dystopia and politics.
'Ex Voto' is an opportunity for Monocled Man to tread new ground. Close
collaboration between Simmons and Scott prompted a creative shift with more
emphasis on both groove and production value. "A lot of the touchstones for the
record are cinematic, ambient, industrial soundscapes," Simmons explains. "I still
wanted it to sound English too, whilst tipping European noir."
"I wanted to make a record that was darkly cinematic and ambient but with big
washes of industrial sound," Simmons says. "I didn't want to make a record based
on how I would play it live, I wanted to make something I could sculpt, and create
something really original." Simmons continues to find new ground through his
thought-provoking, uncategorizable music.
Rory Simmons: trumpet/flugelhorn electronics/synths
Chris Montague: electric guitar acoustic guitar
Jon Scott: drums

The story of this album is a story of love and lust - it's a love letter to rock
music - Your first love being the first time you held that instrument or
lover that would propel you into the next chapter
Your first heartbreak. Your first fear. Your first fuck. There's a constant need to
feed the first because all of that unfinished business fuels the second.
But the truth about the first is that it was there all along. These songs were out
there years ago, playing out their melodies to a closeted, jealous, angry Iowa City
gay boy trying to find his way towards freedom. Decades later, No. 2 grabs those
songs down and punches the idea of a first all open. First Love reintroduces No. 2
to us all, driven by the propulsive lyrics of Neil Gust along with the incomparable
Gilly Hanner on bass and the unparalleled Paul Pulvirenti on drums.
Produced by Joanna Bolme (Stephen Malkmus & The Jicks) and mixed by Gary
Jarman (The Cribs) and Tony Lash (Heatmiser). The album was recorded over 3
years in studios and basements across Portland, OR and finished in a boathouse
in Connecticut during Covid. Special guest Rebecca Cole (The Minders, Wild Flag)
shows up on keyboards here and there.
Racing through queer anthems, noir grooves, and more under and over ground
rock references than a Quentin Tarantino movie, First Love bursts with all the
infectious chemistry that made the band so much fun in the first place.

God Alone are a 5 piece math/noise rock band hailing from Cork, Ireland comprised of students of the CIT Cork School Of Music. They combine the dense atmosphere of post metal with elements of indie, hardcore, jazz and dance music. They self released their debut EP "INTIVIM" in late 2016 to critical acclaim and subsequently released their first full length release: titled "Poll na mBrón”, an album based on events and stories from Our Lady's "Hospital" of Cork. Shortly after the release of their debut full length, they returned to the studio to create their most eclectic mix of sounds yet: their sophomore self titled EP, released in November 2019 which enabled them to embark on their first Ireland and UK headline tour. They have played numerous Irish festivals including Townlands Carnival, Monolith Festival and the Siege of Limerick and were recently crowned winners of the "Mammothfest Best Band Competition" of Mammothfest in Brighton, beating 200 bands across Ireland and the UK who battled through the heats. They are also currently booked to appear at ArcTanGent 2022 in the UK. Their self described "sad metal with some dancey bits" heard on their first single release "Dagda" has been described by Overblown as "a blast of visceral fury and dance floor filling interludes". They have been featured and interviewed on numerous media platforms including Hot Press, Totally Cork, Kerrang and Metal Hammer. Their latest release will see them push the boundaries of metal even further, until it cracks. "The band’s new self-titled EP hits that sweet spot in a way that makes God Alone memorable from the get-go." - KERRANG. “God Alone that you realize what makes the next generation of metal bands so special." - METAL HAMMER.

Mit FOREVERANDEVERNOMORE veröffentlicht Brian Eno, bekannt als Pionier der räumlichen Musik, Experimente und Audioinstallationen, sein erstes Studioalbum seit sechs Jahren. Das Album selbst enthält Studioaufnahmen von There Are Bells & Garden Of Stars, Kompositionen, die Eno geschrieben hatte, um sie im August 2021 im Rahmen seines ersten Live-Auftritts seit 11 Jahren auf der Akropolis aufzuführen.

Zusammen mit Vertrauten, wie Cecily Eno, Clodagh Simonds, Darla Eno, Jon Hopkins, Roger Eno, Leo Abrahams und Peter Chilvers feiert er nun sein Comeback und interpretiert Raum, Klangraum und Klang
gänzlich neu.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

2 x 180 g LP + CD , Gatefold,

Mit über 20 Millionen verkauften Alben weltweit, unzähligen Auszeichnungen und einer Karriere, die sich nicht nur über mehrere Genres erstreckt, sondern auch deren Verlauf geprägt hat, sind QUEENSRYCHE nach wie vor eine Größe für sich. "Digital Noise Alliance", das 16. Studioalbum von QUEENSRYCHE und das vierte unter der Leitung von Gründungsgitarrist Michael Wilton, Sänger Todd LaTorre und Bassist Eddie Jackson, setzt das sich ständig weiterentwickelnde Vermächtnis der aus Bellvue, Washington, stammenden Band fort, das 1982 mit ihrer viel beachteten, selbstbetitelten 4-Song-EP begann. Ihre jüngste US-Tournee mit Judas Priest bewies, dass die Zeit, welche die Band abseits der Straße und im Studio verbrachte, ihren Ehrgeiz und ihr Feuer nur weiter anheizte. "Digital Noise Alliance", das erneut mit Produzent Zeuss (Rob Zombie, Hatebreed) eingespielt wurde, blickt nicht nur auf die vergangenen Erfolge von QUEENSRYCHE zurück, sondern auch in die Zukunft der Band: Vom frenetischen Opener "In Extremis" über das nachdenkliche "Forest" bis hin zu "Behind The Walls", das an QUEENSRYCHE-Klassiker und genreprägende Alben wie "Operation: Mindcrime" und "Empire" erinnert. "Digital Noise Alliance" ist QUEENSRYCHE, die mühelos all ihre Stärken ausspielen - unmittelbar und zum Nachdenken anregend. Durch und durch QUEENSRYCHE eben.

The Hamilton, Ontario-based metalcore heavyweights have announced their upcoming full-length, A Eulogy For Those Still Here, due out October 7th from Pure Noise Records. The record finds Counterparts tapping into a deep sense of uncertainty and dread and pushing their visceral sound to even greater extremes to make their most definitive statement yet.

DNO hits double figures as Denver’s Trisicloplox & Sectra return with more industrial-strength electro-sludge.

Sectra sets the tone with ‘Mail Theft’, a hulking mass of sand-blasting static, insectoid jitter and low-end boom. It’s an intimidating, uneasy listen, like tuning through the haunting emptiness of post-apocalyptic broadcast frequencies, only to be interrupted by sudden bursts of unseen filth and gore.

Trisicloplox follows with a brace of tracks. ‘Bruised’ does exactly what it says on the tin, gargantuan kicks pummelling layer upon layer of dense sound into an impenetrable wall of noise. Ritualistic rhythms and gluttonous amounts of overdrive swarm over distant wails, sending everything into a spiral into despair.On ‘Megastructure’, doom metal meets hip-hop, as rough-hewn drums crunch above a bassline that takes its cues from the Super Hans School of Electronic Music: “The longer the note, the more dread.”

And finishing up the vinyl offerings is ‘Dead On Arrival’. Coming courtesy of Sectra, the most traditionally ‘club-focused’ effort of the lot sees a serrated breakbeat and venomous acid lick sparring over dissonant pads.

As always, digital listeners are offered a little bonus, this time the only full collab: ‘The Dead InTheir Shrouds’. Shunted along by a systematic kick, the track’s jackhammer subs become all-consuming, seemingly sucking all the air from the room and hurling it back out of the bassbins in a violent frenzy.

A bold release that’s not for the faint of heart, the ‘Dead Structure’ EP further cements Trisicloplox & Sectra as truly original talents and DNO as an outlet that can never be pigeonholed.

Rhythms of postmodern realism at the very bottom of the DNO.

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

CAUSTIC CASANOVA, die psychedelischen Heavy-Riffonauten aus Washington, DC nutzen auf ihrem fünften, das Gehirn schmelzenden Album die starke Kernkraft ihres hyperkinetischen Zentrums, um diverse Soundpartikel in die musikalische Wechselwirkung einzubinden und in einer kaleidoskopischen Heavy-Rock-Extravaganz explodieren zu lassen. Im Jahr 2005 als Trio gegründet, schlagen Schlagzeugerin und Sängerin Stefanie Zaekner, Bassist und Sänger Francis Beringer sowie Gitarrist Andrew Yonki, mit CAUSTIC CASANOVA immer wieder neue Wege ein, um ihre ebenso packende wie unvorhersehbare Musik spannend zu verfeinern. In ihren Klangräumen verbindet sich sardonischer Noise-Rock und proggiger Sludge im Stile von BARONESS, RED FANG und TORCHE mit der gewaltigen Wucht der MELVINS, der Experimentierfreude von BORIS und flottem Gitarren-Heldentum sowie einem Hauch von verdunkeltem Post-Punk. Mit der Aufnahme eines zweiten Gitarristen in der Person von Jake Kimberley im Jahr 2019 machte sich das nunmehrige Quartett auf eine Abenteuerreise mit dem erklärten Ziel, das waghalsigste und rockigste CAUSTIC CASANOVA Album aller Zeiten zu erschaffen. Dabei nutzen die Amerikaner geschickt alle erweiterten Möglichkeiten, die sich aus ihrer Verstärkung mit einer zweiten Gitarre ergeben. Gleichzeitig unterstreichen die Vier auf "Glass Enclosed Nerve Center" auch all ihre bisherigen Stärken: Beringers straffer, melodischer Bass pumpt heftig die beiden heiß-bruzzelnden Gitarren auf, die den gesanglichen Dreiklang flankieren. Zaenkers flexibles Schlagzeugspiel treibt die fünf mäandrierenden Songs des Albums einfallsreich an und fühlt sich sowohl im swingenden Bill-Ward-Stomp als auch in der Hibbeligkeit des Math-Rock wohl. Langjährige Reisende in CAUSTIC CASANOVAs Fahrwasser dürfen "Glass Enclosed Nerve Center" als eine Art von berauschender Rückkehr empfinden, zu der auch das ehrgeizig ausufernde, 22-Minuten-Epos 'Bull Moose against the Sky' erheblich beiträgt, welches die gesamte B-Seite des Albums in Beschlag nimmt. Doch auch wer den massiven Sound dieser galoppierenden Psychedelic-Sludge-Büffel noch nicht kennt, bekommt hier herausragendes Songhandwerk und eine reiche lyrische Erzählkultur geschenkt, die jede Sekunde und unzählige Wiederholungen wert sind. Drei, zwei, eins... nun geht es rund!

CAUSTIC CASANOVA, die psychedelischen Heavy-Riffonauten aus Washington, DC nutzen auf ihrem fünften, das Gehirn schmelzenden Album die starke Kernkraft ihres hyperkinetischen Zentrums, um diverse Soundpartikel in die musikalische Wechselwirkung einzubinden und in einer kaleidoskopischen Heavy-Rock-Extravaganz explodieren zu lassen. Im Jahr 2005 als Trio gegründet, schlagen Schlagzeugerin und Sängerin Stefanie Zaekner, Bassist und Sänger Francis Beringer sowie Gitarrist Andrew Yonki, mit CAUSTIC CASANOVA immer wieder neue Wege ein, um ihre ebenso packende wie unvorhersehbare Musik spannend zu verfeinern. In ihren Klangräumen verbindet sich sardonischer Noise-Rock und proggiger Sludge im Stile von BARONESS, RED FANG und TORCHE mit der gewaltigen Wucht der MELVINS, der Experimentierfreude von BORIS und flottem Gitarren-Heldentum sowie einem Hauch von verdunkeltem Post-Punk. Mit der Aufnahme eines zweiten Gitarristen in der Person von Jake Kimberley im Jahr 2019 machte sich das nunmehrige Quartett auf eine Abenteuerreise mit dem erklärten Ziel, das waghalsigste und rockigste CAUSTIC CASANOVA Album aller Zeiten zu erschaffen. Dabei nutzen die Amerikaner geschickt alle erweiterten Möglichkeiten, die sich aus ihrer Verstärkung mit einer zweiten Gitarre ergeben. Gleichzeitig unterstreichen die Vier auf "Glass Enclosed Nerve Center" auch all ihre bisherigen Stärken: Beringers straffer, melodischer Bass pumpt heftig die beiden heiß-bruzzelnden Gitarren auf, die den gesanglichen Dreiklang flankieren. Zaenkers flexibles Schlagzeugspiel treibt die fünf mäandrierenden Songs des Albums einfallsreich an und fühlt sich sowohl im swingenden Bill-Ward-Stomp als auch in der Hibbeligkeit des Math-Rock wohl. Langjährige Reisende in CAUSTIC CASANOVAs Fahrwasser dürfen "Glass Enclosed Nerve Center" als eine Art von berauschender Rückkehr empfinden, zu der auch das ehrgeizig ausufernde, 22-Minuten-Epos 'Bull Moose against the Sky' erheblich beiträgt, welches die gesamte B-Seite des Albums in Beschlag nimmt. Doch auch wer den massiven Sound dieser galoppierenden Psychedelic-Sludge-Büffel noch nicht kennt, bekommt hier herausragendes Songhandwerk und eine reiche lyrische Erzählkultur geschenkt, die jede Sekunde und unzählige Wiederholungen wert sind. Drei, zwei, eins... nun geht es rund!

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

For nearly twenty years, Dirty Heads have been mixing hip-hop, reggae and rock to create a unique sound that both fully embodies their Huntington Beach, California roots and resonates with audiences around the globe. Having gone viral on TikTok with their hit song, 'Vacation', which has over 6 billion streams and views on the platform, Dirty Heads has amassed over 3.5 million monthly listeners on Spotify. Their highly anticipated new album 'Midnight Control' features 11 new songs that include their take on Joe Walsh’s 1978 hit 'Life’s Been Good', 'Rescue Me' and 'Island Glow'. The band’s 8th studio album, it is sure to reaffirm their outstanding track record with all seven of their albums having appeared in the Top 10 of Billboard’s Top Independent Albums Charts & Billboard’s Top Alternative Albums Charts.

THE RETALIATORS MOTION PICTURE SOUNDTRACK is the high-octane original soundtrack from the award-winning horror-thriller THE RETALIATORS. It includes special appearances from some of the biggest names in rock music such as Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate and more, both on screen and on the original soundtrack. The album is available on a limited collectors edition 180gm red & black splatter vinyl pressing housed in a gatefold sleeve with exclusive movie stills, a 24x36 movie poster collectable, blood spattered o-card and including a digital download. It is also available on digipak CD and cassette formats.

Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK.

Their latest long play takes its name from the solar deity of the slavic pantheon, Dazhbog - the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. We can find cycles in nature, music and life itself can be thought of as a cycle, from the micro to the macro scale.

As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog’s music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo’s influences, from the obvious portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of north-american jazz and psycho-acoustic hallucinations and the hash transients of electronic music.

Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of 8 tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences. The album will come out on vinyl in late March, in time for the pagan celebration of Spring and Fertility.

All artists are well known for their outstanding sound design and mixing skills. Get carried away by pounding drums and razor sharp hi-hat patterns. Intense synth workouts, nebulous atmospheres and well-chosen floating percussion parts are desi- gned to melt the boundaries between modern sci-fi sounds and 90s techno vibes.

This release is an absolute weapon and meant to create a higher state of tension and high voltage energy on any techno dance floor. ‘Insolate – Cosmic Paranoia’. The track’s kick drum has a clear crisp knock to it while the sub-bass swells and cradles around it perfectly. The sharp acid stabs in conjunction with this make it a very stomping track while the arpeggiated synth in the background flows with the voice resonance.

‘Mode_1 – Broken Machines’ is the second track on the EP and has a bit more depth and groove to it. The massive low end grooves beautifully with the flowing synth as well as the bright variations of hi-hats.

Next up we have ‘Elias the Prophet – Masochist’ which has a very bright kick and a wobbling bass that’s sure to make your chest rumble. The tight and delicate hats loosen up creating a washing of bright noise that flows over the track while the synth continues to send you into another realm.

The fourth track ‘Joton – Ziggurat’ fits perfectly due to the distressful synth. The track’s sub swells between every fourth and first beat while giving it space to ride smoothly beneath the kick drum between these intervals. The hats remain tight while the cymbals flow over the track creating even more tension.

The new release from Structured Records is signed by the Spanish duo hailing from Sevilla, The Wire Alliance.
Delivering their distinctive sound with meticulous production skills crafting beats at their studio using their analogue and digital gear.

¨Mathspace¨ is highly influenced by the old and new sounds from techno, experimental & noise. The first track is an introduction to set us on this journey of paced rhythms and industrial landscapes.

12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

CITY OF CATERPILLAR return with their first new album in 20 years, Mystic Sisters! When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory. After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited CITY OF CATERPILLAR reunion shows snowballed into writing sessions. The result - Mystic Sisters, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies CITY OF CATERPILLAR's experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like "Decider" and "Paranormaladies" showcases the band's roots with a flurry of viceral, noisey hardcore swagger. Tracked primarily at Montrose Recording in Richmond, Mystic Sisters was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, CITY OF CATERPILLAR are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.”

Channeling his background in classical music, SUUNS' Ben Shemie combines string fractals, manipulated vocals, and synth-powered chaos to bridge the universes of past, present, and future. Over the course of ten tracks, Shemie chronicles a wandering soul tangled in its own dark orbit, searching for meaning in a world of stardust and astral mirages. Breathing life into Shemie's orchestral maneuvers was the Molinari String Quartet, one of Canada's most celebrated contemporary ensembles. Recording the album's ten tracks in two single-takes, the urgency and dynamism of these compositions can be heard as much felt. The listener can sense the stuttering pulse of Shemie, flanked by five amplifiers and wading in electronic bedlam, as the Molinari Quartet switchbacks measures of strings and chimes. Sometimes, the only way to make sense of the world is to travel to its absolute end. While Shemie's image of a faraway universe is equal parts inspiring and chaotic, he assures the listener _ everything and everyone is exactly as it should.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.