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Jean-Luc Mocard met Jean Ronde in September of 2009, while working at the CASIO Palaiseau factory, near Paris. Before, they were both active musicians with a particular taste for synthesized music, touring extensively through European and Asian underground venues and clubs. Eventually, their furious passion for collecting 80’s keyboards brought them together to become the fabulous duo Vive Les Cônes.

Presently based in Porto, Portugal, by a matter of pure chance, Vive Les Cônes is a CASIO explosion, the fuel of a dancing machine that never stops and cherry picks moments from dance and pop music culture along the way. Their live concerts are non-stop hit parades featuring their very own local cult classics, such as “Bonaparty” or “Brocoli-Rave”, and medleys of pop-culture classics ranging from video-game soundtracks, to dance hits, to classical music.

“De France”, their debut album, is the product of years of playing live, training and mastering the perfect CASIO technique. Every track in this album is played live using only pure unmodded Casio PT-380 and Yamaha PSR-37 keyboards, thrift store fx pedals, bringing to the recorded form the meticulously crafted tracks that set dancefloors on fire all throughout the world.

The album is an eclectic journey through electronic and dance music on cheap keyboards, from traces of House Music in “Maillon” and the instant hit “Je Ne Sais Pas”, fumes of vaporwave in “Machine à Vapeur”, and, of course, baguettes of French electro in “Brocoli-Rave”, the track that usually andeuphorically ends Vive Les Cônes’ set.

The Quietus has referred to the duo as a “weird John Shuttleworth take on house music”, but them being French, a better comparison would be something like “Daft Punk lost all their gear on tour and had to play a gig using some old keyboards”. But could they even do it? Maybe a “Pascal Comelade on molly live set for Boiler Room” could make thembetter Justice. We’re not really sure what to compare them to though, and probably there’s no need to compare them to anything, as the best thing you can do is to give them a go and check them out for yourself.

Borgo Dora is a multiethnic neighborhood located in the centre of Torino. A perfect example of inclusion between different people from (mainly) the Mediterranean area and home to Porta Palazzo, the largest open-air market in Europe.

In 1991, a newly born studio located in the middle of the district guided by Biagio Puma decided to give birth to a dance lp called Teknoafro with the support of local Techno dj Bart Spinelli. The title almost speaks for itself, mixing the Italian "Afro" dj culture and the new Akai samplers with 909-driven Techno rhythms. The result was impressive, giving birth to a quite unique recording that reveals many aspects of the '90s Italian dance creativity and tapestry.
Dualismo Sound comes with a fully remastered selection of 6 tracks taken from the original lp.

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.

Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.

On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.

Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.

John Carroll Kirby has recently released records on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.
He recently signed to Stones Throw Records.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Crown the Empire haben sich in den letzten zehn Jahren kontinuierlich als eine Naturgewalt in der Rockwelt etabliert. Sie haben die Bühne mit Slipknot, A Day To Remember, Dance Gavin Dance, Black Veil Brides, Falling in Reverse, Underoath und vielen anderen geteilt.
Bis heute hat die Band vier Studioalben veröffentlicht und wurde von Alternative Press, Billboard, Kerrang!, Nylon, Rock Sound und anderen gelobt. Der beeindruckende Katalog hat ihnen 825M Streams weltweit eingebracht.
DOGMA, produziert und gemischt von Zach Jones (Fever 333, Poorstacy, Scene Queen, Nova Twins), ist ihr bisher vielfältigstes Album, das von Angst, existenzieller Identität, Isolation und Entschlossenheit geprägt ist und Features von Courtney LaPlante (Spiritbox) und Remington Leith (Palaye Royale) enthält. Um die Veröffentlichung zu feiern, wird Crown The Empire in diesem Frühjahr mit der texanischen Hard-Rock-Band Nothing More auf Tour gehen.

Cozy up for winter with our newest Chillhop Essentials seasonal compilation 2022. The calming and laid-back lofi instrumentals welcome winter leaves and comfy hoodies. It's time for some coffee or tea and an evening to relax. All the song project features an impressive list of producers.

Mahti are a Finnish four-piece group presenting a unique mixture of ambient-rock, electronic music and traditional Finnish-Karelian music.

Lengthy semi-improvisational pieces are built on top of complex, hypnotic grooves which are layered with opaque guitars and strangely soothing noise elements. In the heart of it all there's kantele, an ancient Finnish string instrument played by Hannu Saha, who has studied Finnish folk music in theory and practice for nearly five decades.

RUN THE JEWELS haben ihr Hit-Album "RTJ4" durch das Prisma Lateinamerikas neu interpretiert. Mit dabei sind Bomba Estéreo, TROOKO, Baco Exu do Blues, Lido Pimienta, Akapellah, Iggor Cavalera, Sarah La Morena, Danny Brasco, Santa Fe Klan & mehr. Künstler aus 10 LATAM-Ländern - Produzenten, Rapper, Sänger, Musiker, Programmierer - beteiligten sich an der Schaffung dieses
hybriden, bahnbrechenden und zukunftsweisenden Projekts.

NOAs spannendes musikalisches Projekt von 2019 'Letters To Bach' erscheint endlich auch als Vinyl-LP!
Es handelt sich um 12 Instrumentalstücke von Johann Sebastian Bach, zu denen Noa Texte auf Englisch und Hebräisch geschrieben hat. Es geht dabei um so unterschiedliche Themen wie Technologie und Religion, Klimawandel und Feminismus, Euthanasie, den Israelisch-Palästinensischen Konflikt und Beziehungen im Zeitalter von Social Media. Produziert hat niemand Geringeres als der große Quincy Jones.
Die Arrangements für Gitarre kommen von Noas langjährigem musikalischen Wegbegleiter Gil Dor, bekannt als Gitarrist, Komponist und Arrangeur. Die Auftritte des Duos sind ebenso überraschend wie brilliant. Noas Stimme erhebt sich majestätisch und vereint sich spielerisch mit den Klängen von Gils Gitarre. So stellen sie auch Bachs brilliante Polyphonie ins Scheinwerferlicht. Noa und Gil bringen das vielschichtige Original- Repertoire auf Englisch, Hebräisch und Yemenitisch auf ein Album, akzentuiert durch Noas aufregenden Percussionsstil.

re-release Neben Fehlfarben zählten Palais Schaumburg zur intellektuellen Speerspitze dessen, was man zu Beginn der 1980er Jahre marktschreierisch als Neue Deutsche Welle zusammenfasste. Anlässlich der Band-Reunion in traditioneller Erstbesetzung mit Holger Hiller und Thomas Fehlmann veröffentlicht Bureau B nun ihr leichtfüßiges und verqueres, abstraktes und poppiges, dilettantisches und versiertes Debütalbum, das seit seinem Erscheinen im Jahr 1981 - ähnlich "Monarchie und Alltag" - eine Sonderstellung einnimmt, in angemessener und ergänzter Form wieder, was das Ganze zu einem Leckerbissen für Kenner und Sammler macht: Das Reissue beinhaltet über "Palais Schaumburg" hinaus noch eine zweite CD/LP, die sämtliche vor dem Debüt eingespielten Stücke sowie einen bislang unveröffentlichten Mitschnitt eines Konzerts in Holland enthält. Das üppig ausgestattete Booklet präsentiert seltenes Fotomaterial und einen Begleittext von Chris Bohn, Redakteur bei "The Wire".

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.

The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.

Nach dem Erfolg des offiziellen Anno 1800-Vinylsoundtracks feiern Black Screen Records und Ubisoft Mainz die populäre Aufbausimulation mit "The Four Season": Der opulente zweite Soundtrack entführt in die lebendigen musikalischen Welten der vier Erweiterungssets des Spiels und erscheint pünktlich zum 25jährigen Jubiläum der Traditionsmarke am 31.03.2023, natürlich auf audiophilem 180g Doppelvinyl. Alle neuen Musikstücke werden zur gleichen Zeit auf Spotify verfügbar sein. Das Album wird erneut in wunderschönem Klappcover mit Artworks von Ubisoft Mainz ausgeliefert und kommt mit kostenlosem Download-Code für den digitalen Soundtrack, inklusive 8 Bonustracks. Musikalisch dokumentiert die Doppel-LP nicht nur die enorme inhaltliche Abwechslung der vier Anno 1800-"Seasons", sondern auch die stilistische Bandbreite der Komponisten Steffen Brinkmann, Jochen Flach, Armin Haas, Alexander Röder, Tilman Sillescu und Matthias Wolf (Dynamedion). Die Stücke erzählen von versunkenen Schätzen und reichen Ernten, von Expeditionen in die Arktis und ins gefährliche Land der Löwen, von der Eroberung des Reichs der Lüfte oder dem überwältigenden Ausblick von den majestätischen Dächern der Stadt. Kurzum: Die Welt von Anno 1800 und der facettenreichen Spielerweiterungen wird als akustische Reise erlebbar gemacht. Anno 1800 ist eine von Ubisoft Mainz entwickelte und von Ubisoft veröffentlichte Aufbausimulation, in der Spieler die industrielle Revolution anführen, Metropolen errichten und mit Diplomatie, Handel oder Krieg um die Vorherrschaft wetteifern. Das erfolgreiche PC-Strategiespiel begeistert mehr als 2,5 Millionen Spieler auf der ganzen Welt mit einer Kombination aus bewährten Spielelementen, innovativen Neuerungen und dynamischem Spielverlauf in einer der spannendsten Epochen der Menschheitsgeschichte.

Pressing Info: 180g clear blue vinyl, printed inner-sleeve. Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock'n'roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours' self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: "The musical backgrounds of each member are pretty broad but somehow when we come together there's a pretty clear definition of what our music should sound like. There's a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically."

‘How Many Dreams?’ is the highly anticipated fourth studio album from Australian three-piece DMA’S. Featuring the singles ‘I Don’t Need To Hide’ and ‘Everybody’s Saying Thursday’s The Weekend’, the record is another step forward for a band on a still upwards trajectory. Partly recorded in the UK with Rich Costey (Sigur Ros, Muse, Foster the People) and Stuart Price (Dua Lipa, The Killers, Madonna) before being finished with Konstantin Kersting (Mallrat, The Jungle Giants) back in their hometown of Sydney, ‘How Many Dreams?’ is designed to be ambitious, a sonically vast landscape; there are songs to rave to, and songs to cry to. There’s a definite sense of celebration and revolution was brewing within the band on this record. DMA’S exploded onto the scene in 2014 with their debut single ‘Delete’. Since then, the band have released three acclaimed records with their last album THE GLOW (released in March 2020) debuting at #4 in the UK, #1 in Scotland, #2 in Australia. DMA’S have sold out worldwide tours including selling out shows at London’s Alexandra Palace and O2 Academy Brixton, and Manchester’s Castlefield Bowl, and graced the stages on festivals like Reading & Leeds, Glastonbury, Coachella, Lollapalooza, Outside Lands, Osheaga, Gov Ball and many more. UK April tour!

Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock’n’roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours’ self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: “The musical backgrounds of each member are pretty broad but somehow when we come together there’s a pretty clear definition of what our music should sound like. There’s a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically

2020’s A Hero’s Death saw Fontaines D.C. land a #2 album in the UK, receive nominations at the GRAMMYs, BRITs and Ivor Novello Awards, and sell out London’s iconic Alexandra Palace.

Now the band return with their third record in as many years: Skinty Fia. Used colloquially as an expletive, the title roughly translates from the Irish language into English as “the damnation of the deer”; the spelling crassly anglicized, and its meaning diluted through generations. Part bittersweet romance, part darkly political triumph - the songs ultimately form a long-distance love letter, one that laments an increasingly privatized culture in danger of going the way of the extinct Irish giant deer.

A strong, strong showing from Duca Bianco after a period of relative dormancy, teaming up with Manchester's Talking Drums for a musical culture clash with maximum impact. The four tracks see a wide palate of influences being mixed up, from the cheeky Afrobeat shuffle of 'Monkey Key' to the 80s electropop of 'Voice Of Omicron' and the Nico-esque vocal delivery on Balearic groover 'Dolce Julia'. This is an EP with lots of surprises, tons of originality and musical confidence brimming over its edges.

After the ambitious A Distant (Dark) Source (2018) and the subsequent artistic triumph of its live recording in 2021, French avant-garde metal outfit HYPNO5E return with their sixth studio album. Once more, these four visionary musicians and cinematographers take us back to the lost shores of the palaeolithic Lake Tauca, where we dive deeper into its dark source to fnd vibrant visions of a memory both distant and hazy as well as warm and evocative. Sheol shows HYPNO5E at the top of their game, revealing the epitome of their idiosyncratic sound while also exploring new and exciting aspects of their artistic identity. Since 2006 HYPNO5E have been taking grand strides in honing their brand of cinematographic metal, with each of their albums developing elements that would become essential building blocks to their sound. Their 2007 debut album Des Deux l'Une Est l'Autre harnessed a raw, chaotic energy, while the following Acid Mist Tomorrow (2012) saw them apply a hazy filter to their ferocious sound. On Shores of the Abstract Line (2015) HYPNO5E already transformed into the true modern metal grandmasters they are today, while the special soundtrack album Alba - Les Ombres Errantes explored a more subdued acoustic side of the band. Sheol sees the band sounding warmer and brighter than anywhere else in their storied discography, and the arrival of new drummer Pierre Rettien and bass player Charles Villanueva adds a fresh touch the classic HYPNO5E sound. The sweeping finales of «Lands of Haze» and «The Dreamer and His Dream» as well as the pastoral qualities of the quiet finger-picked parts on «Bone Dust» and «Lava From The Sky» hearken back to the old prog rock records of the seventies, albeit with an updated sonic palette and modern production parameters. Besides, these eight tracks also see the band carefully exploring new patterns, shapes, and forms within their own musical universe: from the alternating use of ritardando and accelerando on the aforementioned rim-clicks to the increased employment of string sections and vocal harmonies. With the addition of a whole new palette of warmer and brighter tones, HYPNO5E superbly bridge the sounds of the modern progressive metal and retro prog-movements creating an evocative sonic experience. FOR FANS OF Gojira, Opeth, Periphery, Uneven Structure, Steven Wilson Limited (100 copies ww) Single Colour (Gold Vinyl) Edition!

“These things happen,” says K. Leimer of LUYU. Listen Until You Understand is a test drive through an obstacle course designed for new instruments, arrangements, juxtapositions, and real-time experiments dedicated to leaving the original impulses untouched and unadorned. Joined at times by digital percussionist Dolphie Stein, the music throws itself against itself without loyalty to genre or form, mashing granular particles into a tremulous spectrum of soundwalls, transitions, noise, distortions, and the occasional clearing. As close to live improvisation as one can get in a multitrack studio setting, LUYU takes generative techniques and drops them into short-form events by building its soundstage in thickets of shifting elements, collapsing phrases, broken signatures, and implied patterns. An outlier in Leimer’s catalog of general stillness and subtle detail, LUYU revels in the bare sound of things usually hidden in the mix.

Kerry Leimer founded Palace Of Lights in 1979. Leimer’s work has also been issued by Abstrakce, Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples and RVNG. His work is included in the Cherry Red Noise Floor compilation series and his early cassette work is featured in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s—his current catalog includes twenty solo albums plus collaborative albums with Savant, Marc Barreca, and Three Point Circle. Recent soundtracks include work for video artists Cristiane Bouger and Fred Birchman, HBO’s How To With John Wilson and the Netflix documentary John Was Trying to Contact Aliens. His work is included in the collection of The British Library.

It’s been seven strange years since The Veils’ last studio album Total Depravity, and Finn Andrews has a new double LP to show for it. "...And Out Of The Void Came Love" is the result of this tumultuous period of injury, isolation and new life...

Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. “It sounds wild and Jerry Lee Lewis-esque, but it was an absolute fucking nightmare,” Andrews says. He played on and finished the rest of the tour, but it wasn’t until he got it examined much later that he realized what a bad move that was. “The scaphoid bone in my wrist had died, which I didn’t know was possible. My sister said that at least it was a really ‘on brand’ injury for me.”

Finn’s convalescence meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. “I was in a cast and couldn’t use my right hand. I sang the melody lines, then recorded the right hand piano part, then the left hand part. It might have been an interesting, avant-garde process if it wasn’t also just profoundly annoying.”

Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year.

“Tom was incredibly patient, it was a really laborious process - I brought a lot of junk down there and we had to sift through it all to try and find the parts worth saving.”

Following another two years of intermittent recording between lockdowns, Finn’s wife became pregnant, and yet more songs started coming.

By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material - but the meaning of the songs as a whole still eluded Andrews. “Then my daughter was born, and suddenly the whole record made sense to me,” he says. The music was telling a story, and somewhat strangely for The Veils, it seemed to have a happy ending.

The result of all these years of questioning, confinement and precarious uncertainty is the magnificent new double album from The Veils … And Out Of The Void Came Love. It is an album intended to be listened to in two sittings with a short break in the middle, or as Andrews instructs: “Make a coffee or smoke a cigarette – but don’t mow the lawn or go to the movies or something, that takes too long.”

Composer Victoria Kelly’s soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums) the NZTrio and special guests the Smoke Fairies on backing vocals.

“Refreshingly passionate… Andrews rages with a Herculean intensity.” The Guardian
“Horse-whipped, lightning-crash clamor… magnetic.” Pitchfork
“One of the finest songwriters of his generation.” Drowned in Sound

Steve Gunn has always had one foot in indie rock and the other in an expansive improvisational scene. His songwriter albums alternate with freewheeling jams, most notably in his Gunn-Truscinski Duo, but are not confined to that. So when Gunn decided to revisit Other You, it made sense that he brought in some guests from the far side of the commercial/experimental spectrum to reimagine his songs. Nakama presents five tracks from that last album, reshaped by artists that Gunn admires. The process loosens the songs up considerably.

To start, he calls in Mdou Moctar’s backing band (the American bassist Mikey Coltun and the other guitarist Ahmoudou Madassane) for “Protection.” The song already had a bit of blues-y swagger to it, with sharper-edged guitar rhythms also heard on the ultra-smooth Other You, but here the heat has an otherworldly desert sheen. Its caravan-traveling rhythm sways from side to side, digging in to to the upbeats in a way that is both kinetic and also hypnotically still. There’s some crowd noise in the background, the knot of people that regularly forms when Mdou and his compatriots plug in from Agadez, and a few mournful afro-blues licks arcing off the vamp. But mostly it’s a cut that reminds you how much African guitar music Gunn has absorbed (listen to “Tommy’s Congo” from Way Out Weather for proof), and how well it fits with what he does.

Gunn also brings in Circuit Des Yeux’s Haley Fohr to reconfigure “Ever Feel That Way,” and she sets the song’s drifting melancholy amid pensive minor-key piano chords. She strips back the ambient whoosh that surrounds the original, slows down the pace and presents the song in startling, unadorned clarity. Her version removes some of the sticky, over-prettiness that I found so distracting in Other You. The melody is better, purer and more focused without the frills. There is also an electronic remake of “Reflection” from David Moore’s ambient ensemble Bing and Ruth, which traps Gunn’s fragile vocals in a shivering palace of synthetic tones. It’s enjoyable in its way, but the two sensibilities never quite meld together.

The best part comes when Gunn joins forces with Joshua Abrams’ Natural Information Society in remakes of “Good Wind” and “On the Way.” The former is a matter of subtle differences: the gentle pitch and roll under Gunn’s voice, the intermittent liquid runs of bass between widely spaced phrases. Abrams and his crew open up the jazz-leaning, reiterative possibilities under Gunn’s song, but they don’t change it fundamentally. “On the Way” is even stronger, a glowing drone and a pattern of hand drums enveloping the melody. It makes the music seem more spiritual, more resonant, more deep and full of mysteries. It was striking enough that I had to go back to Other You to hear again an album that had left me cold. This new version of “On the Way” didn’t change that chill, but it gave me an idea of how strong the songs might have sounded in another setting. (by Jennifer Kelly)

The first of for the tone for his work for the company: Leon Russell Freddie King ’s Shelter label set ’s three albums
superb electric blues with a prominent rock/ soul influence. The massive Texan and the longhaired Oklahoman got it right the first time
around with the aptly titled Getting Ready LP. Recorded at the legendary Chess studios in Chicago, it might well rank as Freddie King’s most creatively satisfying work.

An array of styles is assembled here, ranging from deep Texas Blues to touches of country church Gospel and hard sockin’ funk. Also, Freddie delved deep into blues history to give his spin on some classic pieces of the genre. Elmore James’ “Dust My Broom” is done acoustically, with just Freddie and his Spanish guitar. The production on Jimmy Rogers’ “Walking by Myself” is equally low-fi, adding Russell’s honky-tonk piano ramblings and a tambourine.

Willie Dixon’s “Worried Life Blues”, however, features King at his most powerfully expressive on this electric blues. The fast-paced stomper includes lightnin’-fast solos from King and he can be heard duelling with the studio guitarist Don Preston, as well.

Following the release of their 2021's critically acclaimed album The Black Stone Affair, instrumental cinematic-soul outfit Whatitdo Archive Group unleashes two startling new singles: "Forbidden Cove" and "The Cashmere Chamber", out on limited edition 7'' on March 24th via Record Kicks. The 45 is limited to 500 copies worldwide and it is just an appetizer of the upcoming new album Palace Of A Thousand Sounds, scheduled for release on May 5th, 2023. Whatitdo Archive Group previous 45s went sold out in weeks and are currently very in-demand from collectors and djs.

On side A, we find the first single "Forbidden Cove". We are immediately greeted with top-notch production that feels like we stumbled upon yet another lost rarity, but this time from the heyday of American "exotica" music from the mid-century movement of the early '60s (think Martin Denny and Les Baxter). The twist here is that the underlying tone is dark, heavy and cinematic. WAG flexes their compositional chops and maturity with clever arrangements, a tight rhythm section and dreamy vibraphone that lead us to dense Arthur Verocai-esque orchestral arrangements and hypnotizing eastern flavors.

From the first notes of the Javanese metallophone, Whatitdo Archive Group welcomes you into "The Cashmere Chamber", on side B of the 7''. Less a room and more an auditory experience, "Chamber" skillfully guides you deeper into its world complete with menacing drums and bass, sinister vibraphone melodies and a haunting choir. But this driving force of the rhythm section isn't enough for WAG; we see the song quickly blossom into an adrenaline pumping guitar feature layered expertly with a Turkish baglama saz and percussion. This track is a sample-worthy heater for any DJ.

The new album Palace Of A Thousand Sounds will be available May 5th, 2023 on limited edition LP, CD and digital platforms. Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective (Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig and Blues & Soul Magazine, BBC 6 (UK), FIP (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Repress!

140-Gram, “Limeade” colour vinyl variant, direct to board Jacket. Features the original album track list using the (2020) 50th Anniversary remastered audio.



In 1970, the Grateful Dead pulled off a feat that that few bands ever achieve, and incredibly, they did it twice. After June 1970's release of Workingman's Dead, the Dead had arrived. An album that would remain in the upper echelon of Rolling Stone’s "best albums of all-time" lists for the next 50 years, the world now knew about the Dead. And remarkably, the Dead not only did it again less than six months later, by many accounts they outdid themselves with the follow-up release in November 1970 of American Beauty.



The album's 10 tracks include many of the Dead's best-known, most-loved, and most popular songs both on record and in concert for the next 25 years. An album that includes Box Of Rain, Friend Of The Devil, Sugar Magnolia, Candyman, Ripple, Brokedown Palace, Attics Of My Life, and Truckin' looks more like a greatest-hits compilation than a second album of 1970, and yet American Beauty demonstrates a band unable to slow down in terms of the quality of its writing, recording, and performing.

— Die bereits 3. Nachpressung des erfolgreichen Albums

— Mit mehr Aggressivität und dem Willen, weiterhin Neues
auszutesten, entwickelt sich “Run” hörbar weiter; es ist
ein deutlicher Schritt nach vorne

— Obwohl sich der moderne Post Hardcore nicht komplett
von seinen Wurzeln emanzipiert hat.

BT67 presents Colombian producer / promoter and DJ Non Punire with a mini-album entitled Espeletia. Member of the defunct Vltra Delta Drive, Espeletia sees the Colombian exile delivering a masterclass in Giallo-infused synthwave and electro.

Throughout 6 tracks, the EP blends suspense and drama for the discerning dancefloors.

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

It’s not often that an artist creates something so unique
and unpredictable that an entire genre is created
because of it, but here we are, Scene Queen and
‘BIMBOCORE’ have arrived.

 Fed up with a genre of music filled with gatekeepers
and judgmental hard rock purists, Scene Queen has
unleashed the most daring, provocative, indefinable
music the world has ever seen.

 Songs like ‘Pink Rover’ and ‘Pink Panther’ are as
daring and raunchy as they are inclusive and
community building.

 In Scene Queen’s world, one can wear pink and like
‘girly things’ while gutturally screaming relatable lyrics
over a metal riff.

 Blending metal, hard rock, and explosive pop, Scene
Queen is making music for a genreless TikTok
generation - the alt kids, the misfits, and the ones that
don't fit in.

 With a heavy following on TikTok and a wildly
entertaining live show that is an experience of a
lifetime, ‘BIMBOCORE’ is the debut of a young scene
kid emerging into the leader of a movement.

 For fans of Ashnikko, Bring Me The Horizon, Poppy.
 Recently performed at Reading & Leeds Festival and
The Great Escape. Upcoming touring with Palaye
Royale (US) and Wargasm (UK).

Intervention Records is thrilled to announce the latest release in its (Re)Discover Series, a 100% Analogue Mastered 180G LP of “The Fantastic Expedition of Dillard & Clark,” featuring singer-songwriter Gene Clark and banjo genius Doug Dillard!

"The Fantastic Expedition of Dillard & Clark" is Intervention's first 180G LP to be pressed at Gotta Groove Records in Cleveland, Ohio. In addition to having a FIRM production schedule and shipping dates that we can absolutely rely on, GGR is the only plant we've found that we believe can meet or exceed our stringent quality standards. GGR replaces its 180G stampers every 500 records just how we like, and Matt Earley and his team press beautiful records with an AMAZINGLY low noise floor !

What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds’ “Sweetheart of the Rodeo.” After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he’d make The Flying Burrito Brothers’ “The Gilded Palace of Sin”), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, “The Fantastic Expedition of Dillard & Clark.”

The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark’s soulful vocal presence and guitar. The repertoire is endlessly fun and engaging, but punctuated with somewhat somber Clark offerings like “She Darked the Sun” and “Something’s Wrong.”

Country rock is familiar ground to Intervention fans, as we’ve already tackled greats from The Flying Burrito Bros., and Gene Clark’s amazing solo effort “White Light.” This is the roots of the music that paved the way for the Eagles and countless others.

The Fantastic Expedition of Dillard & Clark is 100% Analogue Mastered from the 1/4" 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio! The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record!

• To celebrate Kent’s 40th birthday (admittedly a month late, due to pressing times), we are releasing our first ever box set of singles. This is due to getting access to the Loma vaults and finding some previously unheard soul gems to augment the best of the soul dance tracks from the esteemed imprint.

• Starting with THE discovery of the soulful ‘20s we present LA soul group the Marvellos, whose ‘It’s Your Love That I Need’ – written by the great Willie Hutch – is a Motownesque dancer whose arrangements and melodies are so stunning we also issued the backing track as its instrumental B-side.

• The Invincibles were another fabulous Los Angeles outfit whose four Loma releases were ballads but two great dance tracks, the sublime ‘Heartstrings’ and the manic ‘Got A Thing Goin’’ showed they could really turn it up when needed.

• Ben Aiken’s ‘Satisfied’ is a stone classic Northern Soul dancer - finding the more subtle ‘If You Should See Her’ and ‘That’s All You Gotta Do’ in the vaults makes the Philly singer the best represented artist of the set.

• New York-based Carl Hall is another singer with a released classic - ‘Mean It Baby’ and a great unissued tape vault find – ‘Like I Told You’. The pair sit well together on their new 45 pressing.

• The Enchanters cut several tracks after they left Garnett Mimms; ‘Just A Little Longer’ is a great Drifters-sounding number which we’ve coupled with the beautiful ‘I’ll Find A Way’ by Bobby Reed.

• ‘See The Silver Moon’ by west coast girl group the Apollas would have wowed them at Wigan. The poptastic number has the perfect stomping dance beat, beloved of the Casino’s patrons. Alas it was not heard until 2012 when researcher and co-compiler Alec Palao unearthed the master tape. We paired it with Larry Laster’s terrific ‘Go For Yourself’ which shares the backing track of fellow Northern monsters ‘Lighten Up Baby’ and ‘Somebody Somewhere (Needs You)’, more than holding its own.

At the crossroads of past and present, Jean-Benoît Dunckel transports us into a timeless universe in the form of a tribute to the first electronic sound and music explorations.

Inasound Festival, Palais Brongniart, Paris, 2019: Jean-Benoît Dunckel, co-founder of the mythical band Air, creates a live performance. Inspired by a projection of archives evoking the beginnings of electro, JB Dunckel improvises solo on analog synthesizers taken out of his private collection for the occasion. He gives birth to a music which takes its source in the archives of the INA and develops in contemporary visions with a comforting dreamlike quality.

"Ambiguity " ist l imitiert auf 1000 wunderschöne
orange-schwarz marmorierte Doppel-LPs im Gatefold.
Erstmals auf Vinyl erhältlich: das dritte Album der Heavy
Metaller BRAINSTORM - als Teil von Atomic Fire
Records neuer "Backfire" Serie. Für Vinylfans von
Vinylfans.
Die deutsche Heavy Metal-Macht BRAINSTORM ist seit
mehr als drei Jahrzehnten in der Szene, und es ist
tatsächlich immer noch schwer, das Genre zu definieren,
das sie spielen. Power-Metal? Heavy Metal? Prog Metal?
All diese Kategorien wären richtig, obwohl BRAINSTORM
noch mehr bieten und man mittlerweile von ihnen sagen
kann, dass sie eine einzigartige Metalmischung
geschaffen haben. Ihr drittes Studioalbum "Ambiguity",
das ursprünglich 2000 veröffentlicht wurde, wird jetzt von
Atomic Fire auf limitiertem (1.000 Exemplare) farbigen
Vinyls neu aufgelegt, damit die neue Generation von
Metal-Fans es in seiner vollen Pracht genießen kan

Eclectic Italian quartet Eugenia Post Meridiem are ready to reveal their sophomore full-length record, a rather magnificent musical masterpiece. The gloriously kaleidoscopic, dazzling celebration of sound ‘like i need tension’ is available everywhere now. Demonstrated over eight tracks, the all encompassing, musical odyssey, ‘like i need tension’ features initial single ‘willpower’; which burst across our radar with lashings of personality, and became the introduction to the now familiar Indie outfit. Next up was the punchy and fearless ‘around my neck’ and last but by no means least came the intriguing, alluring ‘whisper’, the calm before the sophomore album storm. Gifted with a further five previously unheard gems, listeners certainly have plenty to sink their teeth into. With focus track ‘crucial spring’ traversing the spectrums of shadow, the progressive and percussive ‘unchained will’, the slow voluminous ballad ‘ocean flows’ and the infectious, chaotic energy of ‘tiny perspectives’ and ‘mazes of gazes’. Oozing with iridescence, flavour and texture, there’s something to suit all manners of music fans. Completed over a span of two years plus a two week post-lockdown writing and recording stint, it was then that like i need tension truly came to life in a small converted barn near the village of Montaldo Bormida, in northern Italy. “It was a totally collaborative process... All the composing was done together, right there in the room.” and thus, like i need tension was born. “Tension is a powerful force. It drives things forwards, its friction producing interesting and unexpected results. Above all, it fuels creativity, inspiring and focusing in equal measure.” Such togetherness and chemistry as a band truly shines through across the eight track project. There’s a bold, fearless tenacity to experiment and to go against the tide as each track is filled with quality, curiosity and ingenuity. With purpose and intention studded throughout, like i need tension is as poetic and reflective as it is meditative and utterly transcendent. Placing its roots somewhere in the mystical universe of Hiatus Kaiyote, Christine and the Queens, PYJÆN and Tame Impala. Eugenia Post Meridiem’s sound holds an intrinsic synergy, refreshingly intangible, allowing space for the listener’s own interpretation and understanding. The depth they venture as a collective rewards those who journey beyond the initial passive listening. With technical structures, composition and developed time signatures just waiting to be unearthed, depicted and understood, Eugenia Post Meridiem offer a treasure trove for the adventurous and devoted musical palate yet still remain accessible and incredibly generous to all those who decide to listen. “And so it is that all eight tracks hang together beautifully, linked not by some overarching concept or narrative, but simply a band exploring their talent and the vast space afforded by an open-minded approach.”

For Devo, the beginning happened in the basements and garages of
Akron, Ohio
The songs they wrote were raw and unfiltered with no commercial intent. A
seminal concept band, they made a career out of setting to music video their
dada-gone-camp theory of De-Evolution and its rebuke of corporate culture.
The Somewhere With Devo suite was performed live, one night only, as the encore
of the band's Total Devo concert at The Palace in Hollywood, CA on December 9
1988. The Devo re-mix set by DJ Kinky from 2010, also included here, was never
released previously.

The Younger Than Me debut on Warning hits hard with two powerful original cuts and sharp remixes. The Early Sound Of Nothing is a deep Rave belter driven by the 90s reminiscences that YTM is known and loved for. Maruwa gently coats his production in a slick mix of uplifting House and funky Trance, perfect for an energetic morning workout. On the flip Counter Future turns up the tempo creating a meltdown of choral Jumpstyle vibes before the EP gets finished with another rework by Sophie du Palais who takes the track into a mean bath for a round of sinister Ketamine sex.

The story of Gold Panda's journey from an acclaimed debut record to now, as he releases his third full length album, is an entirely circular one. Hailing from Chelmsford Essex in the UK, in the six years since the release of his genre-defining debut album 'Lucky Shiner', the electronic artist most comfortable with the moniker Derwin Panda spent the subsequent years splitting the majority of his time between London, Berlin and countless excursions to Japan. As he created his third album ''Good Luck And Do Your Best' he ultimately found himself back where he began, in the East of England. Whereas his second album 'Half Of Where You Live' was occasionally taut, perhaps harder and more piecing, the 11 songs that comprise 'Good Luck And Do Your Best' have a distinctly warmer palate, one that echoes 'Lucky Shiner' a little more, albeit with a clearer range of sounds, and also, to Derwin's mind, one where 'the tracks aren't popping out against each other. It's a complete record.'

Staging an attempt to gloss their music, Gentle Stranger
say it recalls “throwing a bouncy ball into a hall of mirrors.”
It’s telling that normal routes of describing music - your
typical band boilerplate of “such and such meets such and
such” or “we just play guitar, us, and leave the writing up to
you” - doesn’t suffice for the London collective; instead a
more arcane, more potent image is fired back, a wonky
and poetic idea that’s instantly more arresting, more
substantial.
For the newly initiated, Gentle Stranger are a selfdescribed “post-clown” outfit that oscillate between musical
forms, achieving a bewildering, almost Joycean
experimental sweep; pastiche, parody, burlesque, earnest
composition, genre interrogation and progression - they
cover it all. Their renowned live performances see the trio
cycle through an arsenal of musical instruments,
apparatus, tackle, and stuff. The set (part of the reason for
their now cult-like following) hangs together intricately, a
fractal clockwork machine that relies on movement and
spatial-awareness as much as it does timing and
musicality.
Upon witnessing the Gentle Stranger live show (‘show’
here is most certainly in the theatrical, carnivalesque,
extravaganza sense of the word), it’s tempting to question
whether they could reiterate, reshape, and condense this
uniquely visual and visceral spectacle into recorded music
- and the answer is yes. The latest update of the Gentle
Stranger sound lands in the form of ‘Upon Return’, their
barnstorming third album.
Gentle Stranger reportedly enjoy “revelling in the
disarray” of ‘Upon Return’, this ornate and finely wrought
mind palace - it’s a riveting and often joyous experience
soundtracked by strange, strange, and stranger music.
Available on black vinyl LP.