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Towards The SeaVery Limited new pressing on Orange/White Galaxy vinyl. This is for Indies only. Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise. Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

Stars of the Lids, Tim Hecker, Brian Eno, Manuel. Duo Consists of Jonas Munk (aka Manual) and Jason Kolb (guitarist from Auburn Lull). 4th album, 2nd for Felte and first one since 2012. Initially on blue vinyl. Past press by Pitchfork, XLR8R, Impose. Past project Releases on Morr Music, Darla, and more. Billow Observatory is the project of trans-Atlantic duo Jonas Munk (Denmark) and Jason Kolb (Michigan). Initially planned as a small sideproject from their main work in Manual and Auburn Lull respectively, the two quickly realized their collaborative experiments merited more time and attention. Using heavily treated cavernous guitars, subtle synths, and crackling radio transmissions, their self-titled debut was released in 2012 as a double LP and established Billow Observatory as purveyors of unhurried, highly detailed ambient immersion. The release pair of II: Plains/Patterns in 2017, and III: Chroma/Contour in 2019, on Munk's own Azure Vista Records, introduced a subtle underpinning of rhythm, pulse, and stutter among the washes, expanding their sound with a hint of understated electronica. Marking 10 years since debuting on Felte, 2022 sees the release of Stareside, their most forcefully elegant undertaking to date. A record of swaying quarantine temperament, Stareside's 9 tracks thread the needle between hope and hopelessness - daydreaming whilst watching the world go mad in the blink of an eye. Not shy of overt rhythm, soaring motifs, and daunting undercurrents, Stateside veers wildly in new directions, yet keeps one hand near the record bin of comforting nostalgia (think early Warp Records, Jon Hassel, and Conny Plank to name a few).

Long overdue pressing of cult band’s most sought after release. Engineered and remastered by Jack Shirly (Deafheaven, Bosse-de-Nage, Oathbreaker). For fans of Have a Nice Life, Xasthur, and Planning For Burial. Entirely remastered and includes a never before heard bonus track!! Mamaleek’s Kurdaitcha is finally back in print! The San Francisco-based duo released their third album of weirdo black metal, Kurdaitcha, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. Kurdaitcha finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals. Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of Kurdaitcha has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket. “Mamaleek are the great destroyers.” — Invisible Oranges // “An incredibly rich and rewarding experience.” —Heavy Blog Is Heavy // “Is it good, though? It’s fucking mental. It’s amazing. It’s absolutely horrible. It’s barely listenable at times and yet you can’t turn it off. The music is perfect. Like broken glass is perfect.” —Echoes And Dust // “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” — FORBES

Known for his work on Transient Force, Gigolo, and of course as a contributor for Fundamental's Time Capsule a.k.a. 808 Box project, -=UHU=-'s album is a selection of his best unreleased tracks. Compiled from an old folder full of tracks that have that twenty years old spirit in each of them, that futurist funk that -=UHU=- can deliver so well. ''Ezzential Electro'' is the biggest project Electro Records has done so far. It consists of 36 vinyl records produced by artists they consider essential for the current underground electro movement. The first six parts of the series come in beautiful white silkscreen printed sleeves on recycled cardboard and include a real puzzle piece on the front cover, indicating which part of the series you have in your hands.

clear transparent vinyl, Repress

Heavy acid bangers. The story continues for Planet Rhythm's 303 series.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

Three years have passed since the world first learned of Ursula Bogner's work. Since then, her identity has been surrounded by rumours, her graphic work have been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek among others). The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the CD presents Bogner's early experiments with voice and tape music – a previously unknown emotional side of her music is revealed here through her singing. The 126 page book contains, along with drawings, photos and other curiosities from Bogner’s life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner, and Bettina Klein as well as interviews with the orgone researcher Jürgen Fischer and the ethnographer Kiwi Menrath. Sonne = Blackbox attempts to locate Ursula Bogner, the sound experimentalist within broader cultural history. A central theme is the phenomenon of fake: how did the erroneous suspicion of fakery come about in the case of Ursula Bogner and what is a post-fake? Answers in this book.

Remastered Reissue des 2002er Kultdebütalbums der Emo/Post-Hardcore-Band Desaparecidos von Conor Oberst (Bright Eyes), der zu einem der beliebtesten und aussagekräftigsten Statements seiner Ära wurde und die Entfremdung derjenigen einfing, die den Kriegsnebel für $$$$ nach dem 11. September durchschauten. 20 Jahre später sind die auf 'Read Music/Speak Spanish' zum Ausdruck gebrachte Angst und Abscheu sogar aktueller als damals, wirken eher prophetisch als paranoid und machen die Botschaft des Albums so notwendig wie seit je.

'Desaparecidos is like finding gold when you're looking for silver.' - Exclaim!

The Mutual Torture pay homage to many of their music heroes from the early 80es. Consequently, their modus operandi is deeply rooted in Post Punk paranoia, alien soundtracks, improvisation, and simulation. Their outcome is coolness that's glowing cold under the red sun, structure and order, and 12 transcendental messages. In the end, there are no more heroes left but just The Mutual Torture.
This band of non-standard humans appears with a conceptual approach to transforming the energy and the boldness of a genre which is known for its pioneering spirit, overwhelming playfulness and a strong desire to experiment. The Mutual Torture are soulmates of those who formed this genre: a German-Chilean band with an attitude and a plan to tour their album live. In particular: Tobias Freund (drum computers and electronics), André Schöne (bass), and Javiera González (vibrantly morphing vocals).
All tracks have been written and produced by Tobias Freund at Non Standard Studios ©2021.

Origu teams up with HiPNOTT and 2 Hungry Bros once more for two slices of dope Hip Hop vinyl!

Deep of Deep Breez returns under the 2 Hungry Bros banner, with a nasty piece of boom bap and MC Likwuid brings her surgically sharp lyricism, to collaborate on "IllFayted". Likwuid's commanding presence is inescapable as she delivers powerful messages between her similes, commonplace catchphrases, and cynicism. Dj Evil Dee of Da Beatminerz layers "IllFayted" with some signature cuts to engage your Hip Hop senses! Though, don't be too distracted by those cuts and the hot 2 Hungry Bros beat, because Likwuid's rhymes are so precisely interwoven you might miss an comedic analogy or sociopolitical statement. illFayted is for the true lover of Hip Hop that appreciates all the fresh elements that make it classic and undying.

In the spirit of letting go of negative energy, toxic relationships and flakey individuals, "Hold That (Faybles)" offers an escape plan for folks who are just ready to move forward in 2017. Tired of being outcasted, misinterpreted or just shut out by your peers? Then here is the gateway to redirecting that energy back to the source...hold that! Deep of 2 Hungry Bros lends his magic by providing a melodic canvas with signature heavy alternating drums and sinister deep loops and chops. The song features Donwill of Tanya Morgan and Hipnott's P.so the Earthtone King.

2022 Reissue of this split electro Mini-LP originally released on 2009

After a series of self-released vinyl singles, PM Warson emerged in 2021 with the album "True Story", combing elements of vintage R'n'B and Soul with an authenticity and energy that appealed fans and critics alike. Breakout single "(Don't) Hold Me Down" had surfaced initially among soul collectors, before finding a wider audience, first on a Fred Perry editorial, and then on mainstream European radio. Having tipped the album on his Funk & Soul Show, the BBC's Craig Charles also included the single on his popular "Trunk of Funk" compilation series. Not one to wait around, despite the various challenges of the pandemic, Warson returns, just over a year on, with his second offering: "Dig Deep Repeat".

While his debut record waited in line at the pressing plant, he began trying out ideas at a makeshift studio in an industrial storage space in Stoke Newington. As lockdown was lifted enough to bring in his rhythm section, a new set of tunes started to emerge. Despite a growing thirst following his first release, there was little opportunity to play live, with social and travel restrictions remaining in place on-and-off throughout the year. It became clear that his best way through was to make another LP. He expanded the operation, bringing in players, working to an 8-track recorder to forge a new record. Subsequent sessions at Gizzard Recording also produced a direct-to-tape session for Blues Kitchen.

On "Dig Deep Repeat" he further explores his vocabulary, with elements of 60s rock and soul, shades of New Wave, and some cosmic colors beneath the moody blues. It's a direct and focused LP, presenting an artist on the move, two albums deep, with time to make up for.

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic.

From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures.

The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

World Circuit Records has made its reputation by producing some of the finest albums of the past three decades. The label is best known for the Grammy-winning Buena Vista Social Club album (and associated solo artists Ibrahim Ferrer, Omara Portuondo and Rubén González), which is the biggest selling world music album of all time and has contributed to the phenomenal rise in popularity of Cuban, as well as Latin American, music.

World Circuit is also home to a number of revered African artists including the late Tony Allen (whose Afrobeat-jazz collaboration with Hugh Masekela ‘Rejoice’ was released to great critical acclaim in March 2020), iconic blues pioneer Ali Farka Touré (whose classic Grammy-winning ‘Talking Timbuktu’ album, recorded with Ry Cooder, brought the label early international acclaim), Malian divas and social activists Oumou Sangaré and Fatoumata Diawara, master kora player Toumani Diabaté, the illustrious Orchestra Baobab and musical iconoclast Cheikh Lô.

With 25th Anniversary celebrations of Buena Vista Social Club under way throughout 2021 and 2022, World Circuit are planning further brand new releases in 2022 and beyond, continuing to bring diverse, genre-defying music to a wider audience.

Released as a limited edition for Record Store Day in 2019, the original mono mix of Pink Floyd’s A Saucerful of Secrets has been remastered by James Guthrie, Joel Plante, and Bernie Grundman from the 1968 analog tapes. Pressed on 180 gram vinyl, it will be presented inside a reproduction of the original LP sleeve.

With classics like "Set the Controls For The Heart Of The Sun", "Remember a Day" and "Jugband Blues", A Saucerful Of Secrets is the only album to feature the five band members: Roger Waters on bass and vocals, Richard Wright on keyboards and vocals, Nick Mason on drums, Syd Barrett and David Gilmour on guitar and vocals.

Welcoming Joe Koshin to the Time Is Now family with a release of two halves. Time Is Now White Vol.15 takes us on a whiplash journey through the contemporary iterations of breakbeat hardcore before slowing down the pace and stationing in UKG's shadier corners.

With previous releases on Planetaria Music and Gimme A Break Records, Joe Koshin has been making some serious waves with his no-prisoner approach to breaks and jungle. Time Is Now White Vol.15sees the London producer continue in this vein with two raucous breakbeat hardcore tracks, and two dark garage tracks which boast the style's potential to be at once introspective and club-ready.

"Chunk" slams things into action. And if you thought the clattering drum breaks and growling low-ends couldn't do more to rip open a dancefloor, just wait for the switch-up. Stutters that Sully would be proud of. The title track grounds itself firmly in the genre's antecedents: breakbeat which is at once gloriously old-skool and fiercely forward-facing.

Flip to the B side and it is configurations of dark garage that take to the fore: first adorned with a hypnotic melody that floats above pitched-up vocals ("T4LK 2 M3"), and later energised by a buoyant swing which implores you to move ("Spectra Don").

Time Is Now White Vol.15 drops 29th April via Time Is Now.

Der Hamburger Synthesist Richard von der Schulenburg kehrt mit dem Nachfolger von "Moods & Dances 2021" aus dem letzten Jahr zu Bureau B zuruck. Mit Hardware-Crunch, kryptischen Klangfundstucken und FieldRecordings macht er sich auf die Suche nach "Cosmic Diversity". Inspiriert von der eindringlichen Elektronica von Boards of Canada und Plaid, die hier durch die Linse eines Zeiss-Objektivs gebrochen wird, navigiert RVDS durch das musikalische Multiversum und spannt in acht experimentellen Kompositionen den Bogen zwischen Electro, IDM, Cosmic und Dub. Das wahrend des Lockdowns als Flucht aus der Isolation entstandene Album wirft einen Blick nach außen, erreicht mit gefuhlvollen Melodien aber auch stets das Innere.

Dälek, “the subversive indie hip-hop outfit” (Pitchfork), release their eighth album, ‘Precipice’, via Ipecac Recordings.

 Forged in the fires of the East Coast underground music
scene of the late ‘90s, experimental hip-hop pioneers
Dälek have spent the past two decades carving out a
unique niche fusing hardcore hip-hop, noise and a
radical approach to sound. Their brutal sonic
temperament pushes rap music’s capacity for noise and
protest to exhilarating conclusion.

 Following in the footsteps of Public Enemy while drawing
influences from My Bloody Valentine and Faust, Dälek
have succeeded in adding completely new textural and
structural dimensions to rap music.

 Predominantly the work of Brooks and Manteca (aka
Mike Mare), ‘Precipice’ was recorded and mixed by the
two band members at their Deadverse Studios in Dälek’s
hometown of Union City, N.J.

 Tool’s Adam Jones guests (guitar / synth) on ‘A Heretic’s
Inheritance’. The band have supported Tool on tour
previously.

 The album’s cover was created by Paul Romano
(Mastodon, Withered) with interior packaging featuring
the art of Afrofuturist painter, Mikel Elam.

 The band have toured with and supported a wide range
of acts in the hip-hop, rock, metal and experimental
genres, including KRS One, Tomahawk, The Melvins,
Grandmaster Flash, Jesu, Dillinger Escape Plan,
Pharcyde, RJD2, De La Soul, Flying Lotus, The Bug,
Mastodon and Fantomas, among many others.

44 Million+ Streams Worldwide / 5 Album Releases / 3 EPs * As Seen on tour with Norma Jean, Born of Osiris, Fit For A King, Silent Planet, Red Jumpsuit Apparatus, Demon Hunter, Oh, Sleeper & Red * 2nd Track leading to their 6th full length release “Eulogies”- coming March 11th, 2022 * PR campaigns in US, Europe, UK & Australia kicking off in January.

25TH DELUXE ANNIVERSARY EDITION OF AMERICAN BABYLON FEATURING LIVE TRACKS WITH BRUCE SPRINGSTEEN Grushecky and his band had been a club fixture in the Northeast for nearly 25 years when they released American Babylon in 1995. The Pittsburgh band had proven themselves to be the consummate bar band with occasional flirtations with national success. American Babylon found them teaming up with Bruce Springsteen, who handles production, plays on several tracks, and wrote two songs for the album. The title track is an uptempo rocker detailing the disintegration of societal mores. There are plenty of songs outlining love gone wrong and the struggles of common folk, all delivered in Grushecky’s warm, well-worn voice over a barroom mixture of blues-based traditional rock. However, delivered with such earnestness and spirit makes American Babylon a worthy contender and an enjoyable listen for fans of Mellencamp, Seger, and, especially, Springsteen. The 25th anniversary deluxe reissue edition will include LIVE tracks from the Houserockers’ legendary October Assault Tour recorded at an enthusiastic hometown show that same year. “American Babylon is an impassioned, sharply-etched portrait of working-stiff triumphs and travails.” -Rick Reger, Chicago Tribune “As the leader of the Pittsburgh-based Iron City Houserockers, Joe Grushecky hammered out four heartland rock albums in the late 70s and early 1980s. These won over more critics than fans, so he became a special education teacher to support his family. Still, he maintained a close relationship with Bruce Springsteen, and in 1995, they teamed up for American Babylon. The two remain tight and play together at least once a year, but this album remains their greatest joint accomplishment.” -Rolling Stone “At a time when rock had splintered into grunge, industrial, alternative, and more, Joe Grushecky planted a defiant flag in the soul of rock and roll with American Babylon--one of the very best and undeservedly overlooked albums of the 1990s, and one that sounds just as fresh, vibrant, and relevant 25 years later. Bruce Springsteen may have helped bring the album to life, but his contributions only elevate a collection of songs that in another time would have been radio classics on their own.” -Ken Rosen, E Street Shuffle

Mall Girl: «Superstar» Jansen Records 2022 «Superstar», the debut record from Norwegian art-pop outfit Mall Girl, represents an exciting new chapter for the buzzed-about band. The release follows a string of successful singles, including their 2018 track “Slay Queen,” which introduced them as an act to watch in the alt-pop arena. The chaotic year of 2020 brought a string of infectious, vibey singles, including “My Sweet Mall Girl” and the fierce “Bad Girl." Members Iver Armand Tandsether, Hannah Veslemøy Narvesen, Eskild Myrvoll and Bethany Forseth-Reichberg were forced to get creative when the pandemic hit, sidelining best-laid plans to flesh out some songs before heading into the studio together. "Because of COVID regulations and the four of us living in two different cities, we changed the way we worked with the songs quite radically in the months leading up to the studio recording,” Narvesen says. "We’ve always been very oriented towards the live performance of the songs, including when we compose them together in our rehearsal space. That way of working has led to some challenges when recording, as you end up listening to the songs in a different manner and might figure out you should have done everything differently." While others put their creative endeavors on hold, Mall Girl opted to try something different. Many of the songs on «Superstar» were tracks that the band regularly performed, but they wanted to seize the opportunity to evolve their sound even more. “We actually ended up ‘remote composing’ big parts of the album, with everyone working from their own home studio and bouncing ideas back and forth,” Narvesen explains. "This was a very welcome change of workflow for us, and it lead to us making some songs which probably wouldn’t have turned out that way had we been together in the same room." This experimental shift in their creative process led to the creation of songs bursting with infectious hooks, hypnotizing grooves and punchy lyrics.

(Abbey Road Half Speed Master)

"T.Rex’s definitive Glam Rock album from 1971 was produced by Tony Visconti and has now been Half Speed Mastered by Miles Showell at Abbey Road Studios, London.

Contains the singles “Get It On” ( #1 in the UK in July 1971), “Jeepster” ( #2 in the UK in November ‘71).

Pressed on 180gram vinyl and housed in a sleeve with an Abbey Road Obi and Abbey Road Certificate."

Lambke creates a DIY and artist- first free space on the margins of an industry driven by sales and a particular kind of recognition, careful about how he embodies his practice of art-making, and the work his music is doing in the world. On Volcano Volcano he is joined by long-time collaborators Daniel Romano and David Nardi (also of Daniel Romano's Outift), and emerging superstar songwriter Carson McHone (Merge Records) for a joy-filled album rich in poetry and guitars,
community and friendship, and dreaming together a new world 're-ordered from below'.

"The exquisite corpse shall drink the new wine", wrote the French Surrealists almost 100 years ago, and from this missive stems the parlor game in which we partake here. Through obscuring the tower itself, they cobble together meandering staircases in which to ascend with absent-minded haste; spontaneous line-weaving amasses figures and phrases into new planes of thought, therefore holding captive the illusion of creative reciprocity. Although housed in unrecognizable quarters, dull rain now tallies itself upon your window panes just as it once kept count on theirs. Apparitions unknown sound instruments of winding origin in celebration of the ink dry in the well. A graffito of tea leaves stains the porcelain cup.

This cloven tall-tale traces an epistolary journey between id and consciousness upon a page that has been adorned and wiped clean again and again and again. The wet meadow expands and contracts within a breath, moving through the windpipe to expel upon the glistening dew. From this dew rises anthills of diminishing complexity, and busying themselves within insanity, the occupants labor to hold fast against the unseen wave of oblivion.

An exercise in aleatoric sentence-finishing between two aligned performers, The Exquisite Corpse Shall Drink the New Wine mimics the economics of unconscious beauty-making to such a degree that light will neither pass through it nor divert its path. Draw upon it what you will, and ready yourself for the unrelenting ataraxy.

Well Street Records present their second release of 2022 and third in the Various Artists series. Enjoy 4 broken beat gems from emerging talents First Epoque, Practitioner, Planete and label head Robert Fleck. Limited pressing!

DJ Feedback

DJ Plead:
"Outstanding as always"

Jon K:
"Top one!!!"

Midland:
"These are all sounding great"

Or:la:
"Loving Bromine"

Pessimist:
"Sick - I like the whole EP"

Peverelist:
"The levels are high as usual."

Sputnik One:
"Damn that’s tasty stuff."

Tessela:
"Wicked as always."

Will Bankhead:
"Wicked!"

Our Starry Universe returns with it’s first release of 2022, the mesmerizing Mother Oak from Dan Wainwright & Elle Redding. The album is out on 12” vinyl and digital 22nd April.

An Acid House/Cosmic concept album featuring Elle’s spoken word on Dan’s production, Mother Oak is about the life cycle of an oak tree from the perspective of the tree. “As we dreamed up a rough outline of the story, the music was created to personify the seasons and the emotions that were to come through Elle’s words.” Says Dan.

It’s a deep listening experience. The kind of record one should listen to in one sitting on vinyl while you are staring at the lyrics on the back cover. “…it all just fell perfectly into place as Elle typed the story. It all came to life really quickly and was an emotional experience for me to enjoy something so beautiful as her creativity and it’s an honour to have that combined with mine.” Says Dan.

He continues… “We made an album that carries meaning and wisdom and at the same time conveys our wonder, awe and joy that we both experience by being in nature and feeling connected to the forever changing cycles of our planet.”

Dan Wainwright is a prolific producer in the underground with releases on Night Noise, Tici Taci, & Sprechen as well as a seemingly constant slate of releases on his own imprint Oddball Recordings.

New York’s Straw Man Army return with 'SOS', the follow-up to their 2020 debut LP, 'Age of Exile'. Emerging from the D4MT Labs group that also includes Kaleidoscope and Tower 7, Straw Man Army’s delicate musical touch, embrace of melody, and rapid-fire, clearly articulated vocals separate them from the louder and noisier end of New York’s fertile punk scene. While 'Age of Exile' examined the legacy of colonialism through the musical milieu of melodic anarcho-punk, 'SOS' turns its attention to the increasingly bleak prospects for the human race and planet earth. While Straw Man Army’s lyrical approach remains dense and thought provoking on 'SOS', their musical scope grows wider, encompassing 'Age of Exile’s' melodic take on anarcho, bleak and brooding post-punk, psychedelic instrumental excursions, and even the wistful pop of album highlight 'Beware'. 'SOS' is everything Straw Man Army’s fans could have hoped for in a follow-up and so much more, cementing the band’s status as one of the most original, exciting, and important groups in the contemporary punk underground.

"Albert Pöschl ist seit fast zwanzig Jahren als Label- und Studio-Betreiber, Produzent und Musiker einer der umtriebigsten kreativen Köpfe in München." fasste DFL-Kultur treffend zusammen. Er holte den 90ern Bands wie Die Goldenen Zitronen, Tocotronic oder Die Sterne nach München und war maßgeblich an bedeutenden kulturellen Zwischennutzungen wie dem "Puerto Giesing" beteiligt. Mit dem Label "Echokammer" gehört er zu den einer der zentralen Münchner Szeneakteure. Die Diskographie liest sich wie ein Who is Who der Münchner Independant-Szene, mit Platten von Queen of Japan, Das weiße Pferd, Tom Wu, Kamerakino, Damenkapelle uvm. Nun veröffentlicht Albert Pöschl am Freitag 8.4 mit "Jason B.Sad / Jason B.Glad" das zweite (Solo-)Album unter dem Namen "Jason Arigato". Bestückt nur mit Akustikgitarre, Fuzz, Echo und einer speziellen Stimme ist diese Kunstfigur (ehem. Bassist bei Queen of Japan) nun schon seit 2010 aktiv. Das neue Album is voller bitterer, süßer & bittersüßer, wunderschön geisterhafter Songwriter-Nummern im Stil der alternativen 60ies, voll "analoger, wirklich zuckersüßer Lo-Fi-Ästhetik" (Groove) und erzählt von Isolation….

With its saturated sounds, clipped beats and spacey pads, Walk Again opens a portal to a place full of mystery and promise.

Across 11 tracks, John Lord Fonda confirms that he is not only capable of writing techno bombs like We Can’t Breathe and Race For Nothing, but also breakbeat-tinged gems like Little Jazz.

The soaring melodies of Antarctica and Creme bring a dreamlike intensity to the project, while new-wave wannabee Together Again (featuring vocals by Gabriel Afathi of The George Kaplan Conspiracy) enlarges the musical horizon, planting its flag as an evolved piece of techno not afraid to mix genres.

Calmer moments such as Walk Again and A Descent Melody continue our journey into the richest of techno landscapes, where intriguing, fascinating tracks like They Will Fight For You.

Dazzling and cold, brutal and soft, the album marries a fluid, coherent mix of cerebral techno and poetic melodies, both calm and calming.

Walk Again, dance again, live again.

Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.

Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.

PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender.

3x12"

Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

Jacob Gorensteyn is an Israeli saxophonist and producer. Born in the USSR in 1980, his family emigrated to Israel when he was a child, with Jacob picking up the saxophone soon after. A long time member and one of the creative forces behind the well-known Israeli brass band Marsh Dondurma, he co-produced all seven of the band's albums, as well as a solo effort that was released locally in 2006. Over the years Jacob became well known in the Israeli music scene both as a potent multi-genre session player and a mixing engineer and music producer, lending his sound to many recordings over the last 20 years. His main focus in his solo work is funky jazz music, being influenced by soul, R&B and funk music, mostly from the 60s and 70s.

Wooden House is one funky record. It began, as many records did at the time, with a recording session arranged to not feel as useless during the early days of the pandemic, at a time when planned gigs and sessions were falling like dominoes, and most, if not all, working musicians across the globe were in a state of mild shock watching their creative outlets, as well as their livelihoods, crumble away. Jacob assembled a group of friends – all powerhouse musicians, and all some of the most favorite people in the world for him to play with – into a recording studio. Just before the pandemic, Jacob moved away from the city into a little wooden house in a village located in the picturesque Yehuda mountains near Jerusalem. The new location prompted some creative juices in the form of a string of funky tunes, written in his new project studio on the 2nd floor of that very Wooden House. Three of those were the tunes he brought into the studio that day. None of the musicians assembled, including Jacob, knew what the music they came out with would end up sounding like. The music was worked out during the session and then swiftly recorded, all of it live, all of it energetic and groovy. Two more similar sessions followed in the following months, often being rescheduled because of lockdowns. What came out became "Wooden House", a funky, brass-heavy instrumental album, a fun, instant mood improver. Put it on and groove with us.The album was recorded in 2020.

If your inspiration is Herbie Hancock's "Head Hunter", or any of The Meters or The Apples albums – This one is for you.

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

Alga Marghen proudly presents "Water Angels", an LP with previously unreleased tracks by Katalin Ladik, following the monumental "Phonopoetics" from 2019. "Water Angel", the title track, is a side-long work from 1989. It began its life containing a plice of "O Fortuna" from Carl Orff's "Carmina Burana" and was first staged in an artificial fog on a lake at the 1989 Spoleto Festival in Italy. The texts include fragments of her own lyrics mixed with parts from James Joyce and Lewis Carroll in a kind of sonic-textual collage of processed sounds superimposed to environmental field recordings. one can also hear the composer Erno Király, her first husband, playing his self-built instrument called "Zitherphone", a 58-stringed huge engine of sounds assembling five zithers in a single body, with pick-ups placed on some of the strings. The first part of "Water Angel" was used as a starting point for "Three Orphans", another composition juxtaposing electronically modified voice with recordings of folk songs, this time Hungarian. It's a kind of "adaptation of a Hungarian folk ballad", utilizing recordings done in Transylvania in 1940, registered with a wax cylinder phonograph and gathered by Radio Novi Sad. Thanks to the collaboration with Boris Kovac, the sound engineer for this project, the quality of Katalin Ladik's screams, whispers, chants, laughter, giggles is now significantly improved, and in some ways the subtle nuances of her virtuoso interpretation find here their most powerful rendition. Also presented on this record are three and never before issued works created by Katalin Ladik in collaboration with the composer Svetlana Marasch at the electronic studio of Radio Belgrade in 2019, "Electric Bird", "White Bird" and "Ice Bird". combining extended vocal techniques, processing and modular synthesis, these tracks confirm the artist's radical temperaments that helped to define her work during the 60s and 70s, while pushing it further into new territories thus revealing an artist with almost no peer in the experimental landscape today.

The second installment in Fu Manchu’s 30th Anniversary vinyl 10” series, Fu30, Pt.2, includes 2 new original Fu Manchu songs, as well as a cover of Surf Punks’ “My Wave.” The band will be releasing 1 more edition in this 10” series, making a total of 30” of new Fu Manchu music for the Fu30 anniversary. Each release includes 2 new original compositions and a newly recorded cover. Like the band’s most recent album, Clone Of The Universe, and Fu30, Pt. 1, Fu30, Pt. 2 was recorded at The Racket Room in Santa Ana, California by Jim Monroe (Adolescents, Ignite) and co-produced with Fu Manchu. This limited edition 2500 unit run is pressed on pink neon vinyl at 45 RPM for maximum heaviness with a package design that pays homage to the cover of Surf Punk’s original single. Tracklist: 1. “Strange Plan” 2.“Low Road” 3.“My Wave”