Buscar:petal

‘Road Less Travelled vol.2’ once again brings together the imprints far-reaching community of artists spanning London, Los Angeles, Montreal, Budapest, Copenhagen, Barcelona & beyond. The compilation floats between shoegaze, moody electronics, and shimmering synths; featuring new and original music from the likes of Nourished By Time, Mark William Lewis, and Untitled (Halo). Road Less Travelled Vol.2 sees the label continue to amplify the voices of these singular artists who continue to sculpt their respective sounds. It’s a follow-up to 2022’s ‘Road Less Travelled vol.1’ which was celebrated by Resident Advisor, CRACK, The Wire, Dazed, Clash, NTS, Tom Ravenscroft, and Jamz Supernova.

Scenic Route continues to reaffirm its position as some of London’s premier tastemakers; building a grassroots following via their sell-out live shows featuring the likes of Chanel Beads, James Messiah, Mark William Lewis, Delilah Holiday, and more. Paired with ground-breaking releases including Nourished by Time’s debut album ‘Erotic Probiotic 2’ garnering the coveted Pitchfork’s 'Best New Music' and was widely regarded as one of the ‘Best Albums of 2023’ with features on Gorilla vs Bear (#1), Pitchfork (#5), The Guardian, The Fader, Paste and more. Most recently releasing Vanessa Bedoret’s (Astrid Sonne band mate) debut album ‘Eyes’ in the words of Boomkat ‘a timeless bouquet of raptures and ballads iced with shearing strings and shatterproof electronics’ having additional support from Vinyl Factory, Resident Advisor, Bleep, Nina, The Fader and more.

2024 Restock

Das letzte reguläre Studioalbum der THE PRIMITIVES feiert
den 10. Jahrestag und beschert uns klares rotes Vinyl und
drei Extra-Tracks! Die Zeit ist spurlos an ihnen
vorbeigegangen und sie klingen genauso frisch wie immer.
Ihre mitreissenden Melodien bringen uns zrück ans Ende der
80er, als sie mit Klassikern wie "Lovely", "Pure" und "Galore"
den Britpop vorwegnahmen
Als THE PRIMITIVES 2009 wieder zusammenkamen, um
ihrem verstorbenen Bassisten Steve Dullaghan Tribut zu
zollen, begann die neue Geschichte. Die Fans ihrer ersten drei
Alben zwischen Ende der Achtziger und Anfang der Neunziger
konnten nicht glauben, sie noch einmal auf der Bühne zu
sehen und neue Veröffentlichungen von Tracy Tracys Band zu
genießen würden. Sie waren eine der wichtigsten Gruppen in
unserem Leben und deshalb wollen wir das zehnjährige
Jubiläum von „Spin-O-Rama“ mit einer ganz besonderen
Veröffentlichung feiern.

This collaboration between Spanish producer Nueen and Manc vocalist / rapper Iceboy Violet - who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James - traces the arc of a four year relationship, memorialising its highs and documenting its lows, processing, reflecting, and then ending with the ecstatic spark of new love. It’s a magical, intimate and heartfelt album, sometimes anguished but often enchanting. Nueen's music responds with foggy, but richly detailed, production. Smudgy drill-laced beats contrast with curdled, spiralling chords, at times drawing out a malevolent ambience. ‘You Said You'd Hold My Hand Through The Fire’ is an immensely affecting and lucid album, powerfully wrought, ultimately hopeful.

Indie Exclusive Limited Turquoise col vinyl, these were only available on the European tour, we have a final box of 50 which got held up in customs so offering now as an Indie exclusive. Northern California’s punk rock cult favourites, Tsunami Bomb, has risen from the grave and reformed with their third full-length release, The Spine That Binds, and with it they have proven that this chapter of Tsunami Bomb not only embraces their signature style of aggressive pop punk supplemented by a touch of darkness but have taken it even further. Honing their skills of melody while being more in-your-face and more aggressive than ever, they conjure a dark journey of discovery with each track. Originally formed in 1998, and disbanding after many member changes in 2005, Tsunami Bomb reformed at the end of 2015. This new release finds the quintet brought to life with the return of founders Dominic Davi (bass / backing vocals), Oobliette Sparks (keyboards / co-lead vocals), and Gabriel Lindeman (drums). Joined by Kate Jacobi (lead vocals) and Andrew Pohl (guitars/backing vocals), they combine their skills to create a sound that effortlessly mixes dark musings on the search to find one’s place in an increasingly uncaring world, into unforgettable anthems, calling on one to get up and sing-a -long. The Spine That Binds is not asking for your acceptance, it demands it. This album will scratch the itch of all the diehard fans looking for that familiar Tsunami Bomb sound, but also show a new, angrier and brutally honest side of the band. With the support of Jello Biafra’s legendary punk rock label, Alternative Tentacles Records, Tsunami Bomb has not only heard the call, they are ready for the newest chapter to unfold and they are taking everything with them

"Spell Blanket – Collected Demos 2006–2009" umfasst Songs und Skizzen aus Trishs umfangreichem Archiv an 4-Spur-Kassetten und MiniDiscs. Die Aufnahmen legen den Grundstein für das, was das fünfte Album von Broadcast hätte werden sollen, und bieten einen Einblick in den kreativen Prozess von Trish und James in der Zeit nach "Tender Buttons" von 2006 bis 2009. Die im Artwork verwendeten Fotos stammen von Trish und James, das Artwork selbst wurde vom langjährigen Broadcast-Mitarbeiter Julian House entworfen. "Spell Blanket – Collected Demos 2006-2009" erscheint als standardmäßige schwarze 2LP und CD bei Warp Records.

"'Hey Babe' sounds like classic Trummors – their voices a perfect match for one another, Dan Horne’s lingering pedal steel adorning the piece like chapparal, just an ambling walk through life together." - Petal Motel "Is there a scientific formula for creating the perfect country rock record? If there is, the Taos, NM duo of Anne Cunningham and David Lerner — AKA Trummors — have cracked it." - Aquarium Drunkard "Trummors capture a classic country sound — flirting with the heavy-hearted, but formative voices that lent credence to the ‘70s crossover out of psychedelic troupes." - Raven Sings The Blues Trummors are excited to announce their new album 5 out April 12 on Ernest Jenning Record Co.

Hua Li has often worked the fruitful tension between opposing forces, whether being mixed-race, bisexual, or overtly political and softly vulnerable. Now the “half-Chinese, half-militant, half-rapper of your heart” is back with "ripe fruit falls but not in your mouth", her most ambitious and personal record to date. Playing between hazy R&B, hip-hop, jazz and electronic, Hua Li’s sophomore LP takes the imaginary garden as a proxy for cultivating home. With complex vocal arrangements, lush production by Alex Thibault (aka Gloze), and big, vibrant mixing by TNGHT’s Lunice, ripe fruit is a private confessional on a loud-ass record.

Following 2019’s Dynasty and 2020’s critically acclaimed Yellow Crane EP, "ripe fruit" is characteristically libertine. Textured and sensual, the Montreal multi-hyphenate balances her rich, waveforming tone with danceable, electronic signatures. The rapper is fierce and frequently funny, erupting from gauzy runs to deliver a quick uppercut that stings. With hooky, addictive features by Ambrose Getz and Darkus Millon, ripe fruit is an intimate record of healing, with Montreal’s nightlife at its heart. An artful collaborator, Hua Li co-wrote and performed on Gayance's 2023 Polaris short-listed album, Masquerade, and is the touring DJ for Inuk electro-pop throat singer, Riit.

Her charismatic stage show has taken her around the world, including tours with Cadence Weapon and Fat Tony (serving as the former’s touring DJ), to Reykjavik’s Secret Solstice Festival, the Montreal International Jazz Festival, and Pride Toronto. Luminous and compelling, Hua Li shows it takes tenderness to let things ripen, and guts to let things die. In-between is a kind of rapture that begs to be savoured.

For Fans Of: Gayance, Tirzah, FKA Twigs, Heems, Tkay Maidza

Auf seinem dritten Album ,Sleepwalking" verwebt der neuseeländische Komponist, Multi-Instrumentalist und Produzent JONATHAN BREE mit seinem unverwechselbaren Baritongesang stark orchestrierte Elemente - üppige Streicher, Hörner, Celeste- und Sopranchöre - mit Kammerpop aus einer vergangenen Zeit (LEE HAZLEWOOD & NANCY SINATRA). Die Songs tauchen auf eine ausgesprochen moderne Art und Weise in die Avantgarde ein und aus ihr heraus, darunter der Hit ,You're So Cool", dessen Masken-Video Ende 2023 über 31 Millionen Views auf YouTube hat und zum Musikvideo des Jahres 2017 im New Yorker Time Out Magazin gekürt wurde. ,You're So Cool" zeigt seine mysteriöse Band im Masken-Outfit, welches JONATHAN in den letzten Jahren mit einem weißen Ganzkörperanzug, einer Gesichtsmaske (mit Wangenknochen!) und einer Schalenperücke verfeinert hat. Ein gezupftes Cello, eine minimale Bass-Line und ein Schlagzeugmuster bilden JONATHANS Markenzeichen, dass sich durch das gesamte Album zieht. Mit ,Sleepwalking" blickt JONATHAN BREE in Richtung 60er Jahre Lounge, Exotica und französischen Pop. Es gibt mehrere Duette auf dem Album, insbesondere mit der neuseeländischen Musikerin PRINCESS CHELSEA (in ,Static" und ,Plucking Petals"), mit der JONATHAN seit vielen Jahren zusammenarbeitet. Die katalanische Musikerin CLARA VINALS ist zu Gast auf der Single ,Say You Love Me Too", die einen ausgeprägten SERGE GAINSBOURG-Stil hat, mit geflüsterten, intimen Vocals, die über einer markanten Basslinie und einem Drum-Pattern sitzen, das den Song antreibt.Als bekennender Workaholic und sozialer Einsiedler verbringt JONATHAN seine Tage (und Nächte) in einem schäbigen Heimbüro und versucht sein Plattenlabel Lil' Chief Records (Home of PRINCESS CHELSEA, RUBY SUNS u.a..) zu leiten, während er gleichzeitig Alben für Künstler wie PRINCESS CHELSEA produziert, in viralen Musikvideos für Duette über das Rauchen (,Cigarette Duet") auftritt und dann noch Zeit findet, sein eigenes Material aufzunehmen und seine Masken-Videos zu drehen. Und manchmal schläft er sogar. Aber nur manchmal.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

After his participation in a masterpiece such as Popol Vuh’s Hosianna Mantra, in the early 1980s Klaus Wiese produced a series of seminal works in the field of ambient-drone and healing music. The first of these, Baraka, was released on tape by Acquamarin in 1981, and already contained all the aspects of his future research into the mysticism of sound. Wiese shares the path with other German explorers such as Hamel, Fricke, Micus or Deuter, but he focuses his attention on the most essential nature of sounds, on their acoustic purity, which is always infinite spiral, vortex of frequencies and cosmic bath. It takes only a few means (zither, tampoura, cybals, singing bowls) to reach the absolute through vibration. Like the archaic mood of a great universal harmony, the sound suggests a complete state of otherworldly meditation, an enveloping cloud of peace in the eternity of the present. The musician is only the one who distributes and directs the thickenings of ethereal matter, microtonal agglomerates, cascades of celestial harmonics and emotional floods, petals and stems of devotion.

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

Hovvdy's sophomore album, Cranberry, expands on a familiar texture, building off 2017 debute Taster's minimal complexity and covering new ground

Their approach to music beckons the voices of years gone by, clearly evoking inspiration from bluegrass icons like Bill Monroe, Jimmy Martin and the Stanley Brothers. Described as one of the busiest, hardest working, and most entertaining bands in bluegrass, The Kody Norris Show brings back to the stage, old school suiting swagger with their custom matching suits, harkening visual spectaculars like those who donned the legendary western wears of designers like Nudie and
Manuel. Their sophomore album with Rebel Records, titled 'Rhinestone Revival' has everything that their fans love from The Kody Norris Show...and more! The album boasts 12 hard driving traditional bluegrass tracks, upping the honky-tonkanty, with the addition of percussion to really achieve a proper toe tapping collection.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year.

Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story.

The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family.

Raveena Aurora’s debut album was released on EMPIRE in 2019. As she wrote on social media the evening of its release, “What a dream to be able to give u this piece of my soul.”

The album features 12 songs exploring themes of sexuality, womanhood, and her Indian heritage. Raveena cites Sade, Corinne Bailey Rae, Minnie Riperton, and Indian singer, Asha Puthli, as inspirations.

'Hold Sacred' ist für das amerikanisch-britisch-deutsche Trio Esben And The Witch ein mehrfacher Neustart. Die Songs entstanden an einem Rückzugsort bei Rom und sind atmosphärisch, fast spirituell, grüblerisch und sanft, fast Ambient, ohne Live-Schlagzeug, während die Instrumentals aus einfachen, spärlichen Gitarren und Tasten bestehen. Aufgenommen ohne externe Produzenten und Tontechniker ist es eine Reminiszenz an frühe Tage, als E&TW ihre Songs im Schlafzimmer aufnahmen. Nach dem Ausflug zum französischen Metal-Label Season Of Mist mit schweren Post-Punk- und Metal-Texturen erscheint das neue Werk wieder auf dem eigenen Imprint Nostromo Records.

Als Sandrayati aufwuchs, zog sie von Ort zu Ort, um dem Ruf ihrer Eltern im Kampf für die Rechte der Ureinwohner zu folgen. Der ”Safe Ground”, das sichere Zuhause, wurde so durch die menschliche
Verbindung geschaffen. Als Person, die immer das Gefühl hatte, „vielen Orten zuzugehören“, fühlte sich Sandrayati nach den Lockdowns im Jahr 2020 so weit von ihrem Zuhause entfernt, dass sie nicht zurückkehren konnte.

In dieser Zeit entwickelte sie die Überzeugung, dass die sicheren Orte des Lebens manchmal bewusst geschaffen und gepflegt werden müssen – anstatt erwartet zu werden. Produziert vom GRAMMY-nominierten Komponisten Ólafur Arnalds, wurde dieser ”Safe Ground” nun musikalisch in Vinyl zusammengefasst.
Einem ultimativen sicheren Ort für Sandrayati, unabhängig von ihrer Stecknadel auf der Landkarte. Sandrayati beschrieb das Schreiben und Aufnehmen als persönliche „Landung“ und entdeckte in dieser faszinierenden neuen Landschaft eine reife Stimme.

Schließlich sucht sie viele wartende Hände einer neuen Gemeinschaft und hofft, den verlorenen Seelen, die ihre Vorstellung von Zuhause neu erfinden, einen ähnlichen Trost zu bieten.

Originally released in 2005, kiRite is a collaborative album of music and story presented by the legendary duo of Yasunori Mitsuda (composer) & Masato Kato (game creator), both are widely known for their work on cult games such as Chrono Trigger and Chrono Cross.

The universe of Masato Kato is fantastic, strangely cold and yet warm and soothing. The Five Seasons of Kirite will immerse you in the fascinating story of Kotonoha and Kirite, Its dreamy melodies and the bewitching voice of Eri Kawai will make you travel through the five seasons of its unique universe. Fully translated into English and remastered for the vinyl format,

Kirite's story and music are now available worldwide in this new 2 x LP Gatefold format.

Don't wait any longer to (re)discover this masterpiece by Yasunori Mitsuda!

LIMITED EDITION DREAD BLACK VINYL LP, WITH THREE DOUBLE SIDED A4 INSERTS AND DOWNLOAD CODE. HOUSED IN PRINTED OUTER SLEEVE WITH POILYLINED INNER, AND HYPE STICKER. NON-RETURNABLE.
Bruxa Maria are G. Dread: Guitar, Vocals-Dave Cochrane : Bass (Head of David, God, Terminal Cheesecake) - Paul Antony: Drums (Ghold, Test Dept) - Robbie Judkins: Synth noise (Left Hand Cuts off The Right)
Bruxa Maria are back on their third full length; be grateful. “Build Yourself A Shrine And Pray” is 45 minutes of pummelling, punishing fury as unrelenting and all-consuming as your anger at coming up short for the rent.
The new record finds the band just as enraged as their 2016 debut, while continuing to evolve artistically. Bruxa Maria’s huge bass and guitar, frantic drums, and banshee shrieking vocals build tension with few moments of release, the frenzy sometimes dissolving into feedback, static, and synth drones.
Often the riffs have a swagger that makes you want to dance, and in a few places there are flashes of some genuinely pretty melodies and hooks. Those moments all shine through for just an instant before being shredded by the noise and wrath, torn apart flower petals under a line of razor wire.
This is dark music about and against a darkening world, where anger and art are crucial to how we keep on keeping on. You can call it now, this is going to be the best record of 2023.'
(Nate Holdren)

Lous and the Yakuza commence à peine à changer la face de la musique francophone. Elle a débarqué en 2020 avec son premier album Gore, et sa flopée de titres personnels, Dilemme (70 millions de streams), Tout est gore ou encore Solo (6 millions de streams), se voyant nommée dans la catégorie Révélation aux Victoires de la musique l'année suivante. Son deuxième opus, que Lous appelle Iota, va plus loin dans sa volonté de proposer un son singulier. Elle y déploie une musique éclectique sans coquetterie, ni calcul. L'album est un statement sur l'amour dans une forme rare : ce qui reste, une fois que la passion a déserté. Les titres égrènent les effusions, les déceptions comme dans ce jeu enfantin où on arrache les pétales de fleurs pour décrire son état amoureux. (Je t'aime) Un peu, beaucoup, passionnément, à la folie, plus du tout... un Iota. Lous nous refait le film de ses relations dans un projet produit en partie par le fidèle El Guincho (Rosalía) dans toute l'incandescence où la mène les errements de son coeur. D'ores et déjà adoubée par la critique, on a récemment pu la retrouver en Une de Vogue France ou encore en interview dans les Inrocks.

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

Available on vinyl for the first time in 10 years, with new cover design by Tim Rutilli Califone's earliest roots lie in the band Red Red Meat, from whence came Califone's founding members Tim Rutili and Ben Massarella and its longtime producer Brian Deck. The band's first release was a self-titled EP on Flydaddy in 1998, followed later by the full-length debut, Roomsound, in 2001 (later reissued on Thrill Jockey) and eventually the band's Thrill Jockey debut, Quicksand/ Cradlesnakes in 2003. After touring for the release of Roomsound, Califone had little time off to take in the impact of the music they were creating. In three years, they recorded four albums (two instrumental, two song-based including Heron King Blues) and toured heavily in between with Wilco, Modest Mouse, The Sea and Cake and others. After the tour for Heron King Blues in 2004, Califone finally took a breath and came back together in late 2005 to begin recordings. They worked on it in chunks at 4Deuces Studio in Chicago with Brian Deck, in Long Beach and Phoenix with Michael Krassner, and at home in Los Angeles and Chicago until May 2006. The time away and each member's individual work naturally brought new elements into the sound of Califone's music. Both Rutili's and Becker's soundtrack work are more atmospheric, however the challenge of enhancing a scene of film without cluttering it or overwhelming it informed their approach to the new recording. Similarly, the burglary of Califone's equipment during the band's last tour (including guitars, banjo, a 1917 violin, bells and more) altered the sound as they had to find new gear on a tight budget. The instruments are new partners, new sounds that forced them to stretch in new directions. Limitations, obstructions and darkness, and the new possibilities they illuminate; roots and crowns. "In that way", says Rutili, "this album is a conscious and resolved thing. It fully realizes ideas we touched on in the past and where we come from as a band, and takes us into our next phase of life."

It seems Summer is here in May this year and so does the next DOGHOUSE Summer compilation! A lot of platers to "Gogo" your booty by the pool...Soon available! Sixties rockin' Pop at his best...

Legendary Swedish outfit Frak for the 20th installment of Libertine Records Traditions series. Extraordinary, classy, and timeless music from recovered 80s tapes. From freaky Acid to New Wave, Electro and Industrial, high-quality standards for a future underground classic release!

Panthers prowling through a desert. Cowgirls swaggering into a saloon and kicking up dust. Riding shotgun with a Tarantino heroine. Having the fiesta of your lives under a giant piñata with all your friends. Los Bitchos’ hallucinatory surf-exotica is as evocative as it is playful: the London-based pan-continental group could well be your new favourite party band with their instrumental voyages that are the soundtrack to setting alight to a row of flaming sambucas and losing yourself to the night. They’ve got a bun-tight knack for a groove – and they’ve got the best fringes in rock’n’roll too.

Serra Petale (guitar), Agustina Ruiz (keytar), Josefine Jonsson (bass) and Nic Crawshaw (drums) hail from different parts of the world but met via all-night house parties, or through friends, in London. Their unique sound binds them together, though, taking in a

retrofuturistic blend of Peruvian chicha, Argentine cumbia, Turkish psych and surf guitars. They are London’s answer to Khruangbin, if Khruangbin spent all weekend getting slammed on cheap tequila in
a Dalston dive bar.

Fieldwave, Vol. 2 is the second release in our compilation series created by broadcaster, sound collector and Nonclassical A&R consultant, Nick Luscombe, bringing together artists with field recording at the heart of their work. This second volume focuses on the sounds of Japan, with tracks from Japanese musicians and from British artists who have gathered recordings via trips to Japan.

"I created the Fieldwave compilation series in 2020 as a window to the world of field recordings and wider acoustic ecology, via the work of recordists, sound artists and musicians from around the world", says Nick Luscombe, who compiles the series of releases. "For this, the second volume of Fieldwave, I decided to look to Japan as inspiration – surely one of the most sonically rich places on earth."

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

The sublime songs comprising Los Angeles-based musician Ana Roxanne's second release, Because Of A Flower, germinated gradually across five years, inspired by interwoven notions of gender identity, beauty, and cruelty. She describes her process as beginning with “a drone element and a mood,” then intuiting melody, syllables, and lyrics incrementally, like sacred shapes materializing from mist.
The experience of identifying as intersex informs the album on levels both sonic and thematic, from spoken word texts borrowed from tonal harmony textbooks to cinematic dialogue samples and castrati aria allusions. It's an appropriately interstitial vision of ambient songcraft, a chemistry of wisps and whispers, sanctuary and sorrow, conjured through a fragile balance of voice, bass, space, and texture.
Despite a background studying at the prestigious Mills College in Oakland, Roxanne's music rarely feels conceptual, instead radiating an immediate and emotive aura, rooted in the present tense of her personal journey. She speaks of the flower in the title as a body, singular and sunlit, as many petals as thorns, an enigma beholden only to itself. But whether taken as surface or subtext, Because is a transfixing document of a rare artist in the spring of their ascension.

Kogarashi is a Japanese word that means “the wind preceding the onset of winter”, – thus Kogarashi Tales showcases itself as a collection of stories that are connected and carried by that cold, windy feeling with songs that share the personal, yet universal, stories about love, loss, loneliness, dependence, and inner strength. Thoroughly crafted lyrics poetically penetrate the psychology of the mind, human desires, and flaws.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Mariah Careys 30-jähriges Karrierejubiläum geht weiter! Nach der Veröffentlichung der Doppel-CD "The Rarities" am 2. Oktober erscheinen am 6. November ihre Alben "Emotions", "Music Box", "MTV Unplugged EP" (erstmals auf Vinyl), "Daydream", "Butterfly" und "Rainbow" - neu gemastert - auf schwarzem Vinyl.

Bélver Yin's soul mining odysseys have been unjustly overlooked for three decades. An anomaly in the Spanish alt-pop scene, their forlorn instrumentals and ethereal romanticism would have struck a chord in the British league of Felt, The Chameleons, Cocteau Twins and Dif Juz, leaving their 1991 debut Luz Bel deserving of reappraisal.

While coining their band name from a Jesús Ferrero novel and quoting Laozi philosophy on album sleeves, Bélver Yin create illuminating textures that unlock a wordless language of memory and adolescent emotion. Formed in Salamanca by self-taught musicians Pedro Ortega Sánchez and José María Martín, the guitar-bass duo spent two years crafting their divine interplay with interim drummers before submitting a demo to Noisex Music, their only attempt at label courting. The phone rang mere days later with owner and producer Bernar Marks (The Dust Sessions) offering to cut an album and the band ventured to Valencia with cloud-touching optimism soon after.

Championed by local press, the release fell short of expectation, fueling the mythology of a vanished band known only to the initiated. Varying lineups would, however, continue to work in the shadows under Pedro's direction, recording two spatially arranged follow-ups at their own pace in 1996 and 2005.

A glorious debut that undeniably set a high watermark, Luz Bel is finally available again, faithfully remastered by Mikey Young and featuring bilingual liner notes from John Gómez, the authoritative ear behind Outro Tempo.

ehind Dosage there is Sayoko, a Japanese woman living in Paris, who works with a rich, organic, yet destabilized musical style, but with a pulsating life that makes her pieces fascinating.

His songs - since they are songs here - on the edge of pop music, are made for re-listening; each passage revealing new secrets hidden in the complex mechanics of his compositions. Evidence is never at the rendezvous, and yet the pleasure of listening, the joy of being carried away by texts that border the surreal without ever complacent, grooves that always seem on the verge of "collapse without ever poking the nose, this pleasure and this joy, unique, do not leave us from one end to the other of this theory of the pink, UFO album, for those who seek this, and to surprise the others too.

Sayoko: voice, piano, bass, electronics;
Buz: battery; Franca Mai: poems;
Dirty_Pink: guitar;
Gaspar Claus: cello;
Vincent Epplay: electronics;
Nicolas Laffererie: guitar;
BN Würtz: electronics, bass, composition;
Simon Takahashi: electronics, composition