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Singer, songwriter and composer Melike Şahin is set to releases her new album AKKOR via Gülbaba Records in partnership with Day Dreamer

An empowering assertion of survival that propels traditional Anatolian pop and folk influences into the future, AKKOR rises like a phoenix from the flames to reintroduce the Turkish superstar diva to an international audience. An expression of Şahin’s personal growth, the album is an affirmation of her growing status as the voice of a generation, and hose lyrics have been adopted as a callto rights for the women’s movement in Turkey.

Recorded live in London with producer Martin Terefe (London Brew, Buika, Jamie Cullum), AKKOR features a selection of the most talented and forward-thinking musicians on the scene, including guitarists Dave Okumu and violinist Raven Bush, as well as terling Campell (David Bowie) on drums, Glen Scott (Eric Bibb) and Nikolaj mTorp Larsen on keyboards. Bringing an international feel to her mheart-rending performances, the record represents the most focussed and complete expression of Şahin’s sound to date. Melike Şahin has made a career of facing down criticism and censorship to make sumptuous and provocative music that captures the defiant tone of progressive creativity in contemporary Turkey. Having performed around the world with Turkish psych legends BaBa ZuLa, Şahin released her debut album Merhem in 2021, gathering billions of streams and building a reputation for unforgettable live performances in the process. Influenced by the style of Sade, cutting an elegant and beguiling figure on the stage. Where Şahin describes Merhem as about healing, she says AKKOR is about survival, both on an emotional level, coming to terms with difficult relationships, childhood trauma and the pressures of newfound fame, and on a social level, in continuing the champion the rights of the oppressed in the face of state and media violence. Powerful and vulnerable in equal measure, AKKOR demonstrates an orchestral grandeur and a dramatic flair drawn from Şahin’s love for traditional Anatolian pop and folk music, injected with the urgency of contemporary production. Bound together by Şahin’s inimitable voice AKKOR skips between Middle Eastern melancholy and classic disco hedonism, for an album that is as stylistically open, pluralistic and affirmative as the messages the music carries.

Although she does not describe herself as an activist, Şahin’s poignant lyrics have come to define the women’s movement in Turkey, with the words, “I deserve each and every inch of this smile,”adorning protest banners on International Women’s Day and celebratory posters at Pride.

“This is the moment that I told myself, Yes, I am an artist,” Şahin says. “I am bearing all of the other things because of this, because I am affecting people's lives, and I am giving some power.” AKKOR – which translates as candescent – finds Melike rising again and burning brighter than ever before.

Overall though, Şahin says AKKOR is her rebirth album – a statement of self-empowerment, through which she hopes tocontinue to raise up the voices of those around her. “You are seeinga woman who falls down, but who rises again and flies,” sheexplains. “Maybe she doesn't win, maybe she doesn't lose, but she's a survivor,” Şahin concludes. “She is a phoenix.”

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

A new full-length from THE ORB following last year's acclaimed album MOONBUILDING 2703 AD.

An expertly crafted ambient experience from two pioneers at the height of their creativity

180g standard vinyl version comes with download code of the full album

Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over. It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats.



The funny thing is, though, that whatever the context, you know a track from THE ORB when you hear it. Case in point: COW / CHILL OUT, WORLD!, their latest full-length offering - a masterful ambient album that branches out in many directions, but unmistakably sounds like THE ORB in either ear (and probably to your third ear, too).



"The idea was simply to make an ambient album", Dr Paterson explains, "we didn't look back and study earlier recordings, but wanted a more spontaneous approach, a focus on THE ORB today, our vibe in 2016."



In contrast to their much-acclaimed previous full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124) - which took years to prepare and finetune -, the new album was produced over the course of only five sessions in six months, directly following the like-minded ALPINE EP (KOMPAKT 339): "it got so spontaneous that a track like 9 ELMS OVER RIVER ENO (CHANNEL 9) consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much."


Herr Fehlmann sees the duo's relentless gigging schedule as a formative influence on the new album: "the countless performances we've played in the last years - probably up to 300 - have brought us closer as a musical unit. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement (in this case "ambient") and go wherever the flow takes us." It's an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up, but for THE ORB it works wonders: "we're quite happy and also a little bit proud that we've reached this level of unscripted levity with purely electronic means. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there."


Once more, THE ORB's trademark playfulness is on full display on COW / CHILL OUT, WORLD!, and it doesn't limit itself to the multi-layered sampling and psychedelic sound composites that the duo has become known for - you'll find it in the album title as well. The simple invitation (or order) to chill out (relax Calm the eff down) is converted into an acronym - and the cow that you might expect to find on a Pink Floyd cover or with iconic UK chill-out/dance pranksters The KLF. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions.



Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! and treat yourself to an outstanding new ambient experience from THE ORB.

Der legendäre ghanaische Afrobeat-Pionier Ebo Taylor veröffentlicht in Zusammenarbeit mit den Jazz Is Dead-Gründern Adrian Younge und Ali Shaheed Muhammad ein neues Studioalbum. Im Alter von 88 Jahren reiste der ghanaische Highlife- und Afrobeat-Pionier Ebo Taylor zum ersten Mal in die USA, um bei der inzwischen kultigen Jazz Is Dead-Konzertreihe aufzutreten, die landesweit ausverkaufte Hallen bescherte. Während dieser Zeit nahm Ebo zusammen mit den Jazz Is Dead-Produzenten Adrian Younge und Ali Shaheed Muhammad ein psychedelisches Afrobeat-Album auf. Eine Zusammenarbeit, die Ebo-Fans auf der ganzen Welt nicht erwartet hätten und die Kenner des klassischen westafrikanischen Funks sicherlich zufriedenstellen wird. Die wirbelnden Bläser und düsteren Gitarren auf "Ebo Taylor JID022" erinnern an seine bahnbrechenden Aufnahmen aus den Siebzigern, die ihn zu einem der produktivsten und revolutionärsten afrikanischen Künstler aller Zeiten machten. Aufgenommen im Linear Labs Studio von Adrian Younge, beweist dieses Album mit polyrhythmischer Perkussion und twangy, fuzzed out Gitarren, dass Rhythmus der Schlüssel zu allem ist. Das Ensemble ghanaischer Backgroundsänger*innen verströmt einen einzigartig spirituellen Sound, der die Hörer*innen in Ebos Glanzzeit zurückversetzt. Eine der aufregendsten Komponenten dieses Albums ist jedoch Taylors unverkennbarer Ansatz beim Gesangsstyling. Seine zu Herzen gehenden Texte über Liebe, Frieden und Spiritualität spiegeln seine jahrzehntelange Erfahrung und Weisheit wider. Dies ist ein Afrobeat-Klassiker, der ein echtes Highlight im Kanon von Ebo Taylors unbestreitbarem Katalog und ein Kronjuwel in der Jazz Is Dead-Bibliothek darstellt.

Der legendäre ghanaische Afrobeat-Pionier Ebo Taylor veröffentlicht in Zusammenarbeit mit den Jazz Is Dead-Gründern Adrian Younge und Ali Shaheed Muhammad ein neues Studioalbum. Im Alter von 88 Jahren reiste der ghanaische Highlife- und Afrobeat-Pionier Ebo Taylor zum ersten Mal in die USA, um bei der inzwischen kultigen Jazz Is Dead-Konzertreihe aufzutreten, die landesweit ausverkaufte Hallen bescherte. Während dieser Zeit nahm Ebo zusammen mit den Jazz Is Dead-Produzenten Adrian Younge und Ali Shaheed Muhammad ein psychedelisches Afrobeat-Album auf. Eine Zusammenarbeit, die Ebo-Fans auf der ganzen Welt nicht erwartet hätten und die Kenner des klassischen westafrikanischen Funks sicherlich zufriedenstellen wird. Die wirbelnden Bläser und düsteren Gitarren auf "Ebo Taylor JID022" erinnern an seine bahnbrechenden Aufnahmen aus den Siebzigern, die ihn zu einem der produktivsten und revolutionärsten afrikanischen Künstler aller Zeiten machten. Aufgenommen im Linear Labs Studio von Adrian Younge, beweist dieses Album mit polyrhythmischer Perkussion und twangy, fuzzed out Gitarren, dass Rhythmus der Schlüssel zu allem ist. Das Ensemble ghanaischer Backgroundsänger*innen verströmt einen einzigartig spirituellen Sound, der die Hörer*innen in Ebos Glanzzeit zurückversetzt. Eine der aufregendsten Komponenten dieses Albums ist jedoch Taylors unverkennbarer Ansatz beim Gesangsstyling. Seine zu Herzen gehenden Texte über Liebe, Frieden und Spiritualität spiegeln seine jahrzehntelange Erfahrung und Weisheit wider. Dies ist ein Afrobeat-Klassiker, der ein echtes Highlight im Kanon von Ebo Taylors unbestreitbarem Katalog und ein Kronjuwel in der Jazz Is Dead-Bibliothek darstellt.

Re-Issue

Long-Awaited Reissue of Classic Solo Album by visionary Gong Founder Daevid Allen

The classic Now Is The Happiest Time of Your Life, is being reissued in a beautifully remastered edition. This release, a follow-up to the beloved Good Morning album, captures the whimsical yet profound spirit of Daevid Allen's music, blending his countercultural message with tranquil and organic sounds that evoke the best of his work with Gong.

Originally released in 1977, Now Is The Happiest Time of Your Life invites listeners to join Allen's musical journey alongside his imaginary green hero, Zero, a character familiar to fans of the Gong trilogy. With its lush instrumentation, including the use of tabla, harp, and Allen’s signature glissando guitar, the album creates a peaceful, meditative atmosphere that meanders gracefully across its tracks.

Accompanied by Gilli Smyth and the Spanish group Euterpe, Now Is The Happiest Time of Your Life showcases Daevid Allen’s unique blend of cosmic psychedelia, folk influences, and countercultural sensibilities, all wrapped in a sound that feels both timeless and refreshingly original. This reissue celebrates one of Allen’s finest solo efforts, offering a new generation the chance to experience his visionary artistry.

First-ever reissue on vinyl Remastered audio bringing the warmth and clarity of Allen's sound back to its analog roots Faithful reproduction of the original LP artwork, featuring Daevid Allen's own hand-drawn illustrations and personal notes on the back cover CD digi-sleeve captures the spirit of the original LP and includes collector full-sized poster showcasing Allen’s hand-drawn artwork

Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, Double LP, Gatefold, alternative Cover. Comes with three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Aqua Blue Vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deep purple vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Color-In-Color Transp. Yellow / Pink Neon Splatter Black Vinyl Limited to 150 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Sarang Bang Records proudly presents Eternal Afternoon, the latestfull-length offering from Auckland-based composer, producer, and multi-instrumentalist, Joe Kaptein. Drawing inspiration from the 70s jazz-funk innovations of Donald Byrdand Lonnie Liston Smith
and elements of dub and disco, Eternal Afternoon is an uplifting collection of five original Kaptein compositions - a joyful antidote to these troubled times.

Featuring Kaptein’s intricately layered keys and tight ensemblearrangements, the album is augmented by masterful touches of flute and saxophone by Aotearoa New Zealand jazz icon Nathan Haines and backed by local heavyweights Elijah Whyte (drums) and Wil Goodinson (bass), the backbone of Kaptein’s regular working band.

Seemingly out of nowhere, Kaptein appeared on the Auckland scene a few years ago and quickly made a name for himself owing to his versatility, impeccable taste and musicianship, and has established himself as thego-to keyboardist for the likes of Nathan Haines, The Circling Sun, Princess Chelsea, The Situations, and Muroki.

Before recording Eternal Afternoon, Kaptein somehow managed to channel his unrelenting creative energy into three low-key, but brilliant self-released digital albums in between his hectic international touring schedule and session work. These exploratory recordings touch on drummachine and synth-driven psych-lounge, Krautrock, experimental jazz, and Bacharachian pop, allowing the listener a glimpse into the depth of Kaptein’s vision and his wide-ranging musical interests.

An outstanding contribution from turkey to contemporary New Wave. Introverted Poetry with delicate voice and unconventional vocals. A halcyon band sound with calm but compelling arrangements. Nilipek. already created a huge scene in Turkey since 2015. Now it's time for the international audience to discover her. Not psychedelic but a deeply psychological album. A great minimalism of Alternative Pop that may melt to every heart.

Limited 250 Copy, Splatter LP with Poster in Gatefold Sleeve with OBI.

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

It took a while but now it's (almost) finally here, The West Pole on double vinyl! This record,
originally released in 2009, has been out of print on vinyl for over 13 years. It is the first
album with new singer Silje Wergeland and contains guest vocals from Marcela Bovio and
Anne van den Hoogen.
The Gathering's ninth studio album is perhaps the most varied album from the band's
catalogue, going from up-tempo rock orientated songs like ‘All You Are’ and ‘No One Spoke’
to dreamy, soundscape-like tracks such as ‘No Bird Call'. Above all it is a typical The
Gathering album with all the musical ingredients you can expect from this band.
The West Pole has been specially remastered for vinyl from the original mix and contains 4
bonus tracks

The eleventh studio album by American soul quintet The Temptations for the Gordy label, Puzzle People was released in 1969. Produced entirely by Norman Whitfield, it expanded on the psychedelic soul sound of Cloud Nine. Although a few soul ballads are present, the album is primarily composed of Sly & the Family Stone/James Brown-derived proto-funk tracks, such as the number-one Billboard Pop hit "I Can't Get Next to You." The album peaked into the Top 5 on the Billboard Pop Albums chart, and spent fifteen weeks at number one on the R&B Albums chart. According to AllMusic reviewer Mark Deming, this is "the work of a great vocal group firing on all cylinders and getting inspired support in the studio, one of the group's strongest late-60's efforts."

This features two archive mixes of the original 1984 recording. A 2007 epic variation recorded for possible inclusion in Peter trickland's film 'Katalin Varga' and a unique 'psychedelic' version from 2012 which until now has never been heard. Side A 'The Grave & Beautiful Name of Sadness (2012)' Side B 'The Grave & Beautiful Name of Sadness (2007)'

"Bad Bad Hats are an indie rock trio from Minneapolis, Minnesota. Known for bringing a joyful, exuberant presence to their live shows, touring with The Beths, Margaret Glaspy, The Front Bottoms, Hippo Campus, and Third Eye Blind, the group took specific care to bring their fun-loving spirit to their third LP, Walkman.

Kerry (guitar/vocals), Chris (bass), and Con (drums) let their collective hair down on Walkman, bringing raucous and explosive riffs alongside witty lyrics. Though you might not notice from their indie rock exterior, Bad Bad Hats draws a heavy influence from classic pop songwriting that shines through in their hooky choruses and strong melodic sensibilities.

For this release the band set out to push their capabilities as a trio. Subtle changes in process helped the band achieve this goal, such as shifting Chris from a wider multi-instrumental role to allow him to prioritize his bass playing, having Kerry record the bulk of the guitars instead. “You can hear all of our musical voices a lot better on this record.â€

A carefully crafted studio sound brings the record to life, injecting it with an energetic voice that is unique to Bad Bad Hats. Walkman is the group’s fourth time working with producer Brett Bullion, including their previous two LPs, Psychic Reader and Lightning Round, and the Wide Right EP. Bullion and the band use the studio as an instrument, resulting in their most polished work to date."

On Hardcore, James Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso. First sparked during DJ sets in North Carolina basements, the duo's unique creative chemistry has grown exponentially since the 2022 release of their debut EP, Inertia. GRRL x Made of Oak's glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.

Strut proudly reintroduces a classic from the Topomic catalogue, Ice’s ‘Each Man Makes His Destiny’, officially available on vinyl for the first time.
After relocating from the United States to Paris, Ice began performing regularly in the city’s Barbès district, a vibrant area with a large North African immigrant community. The band’s heavy Afro-funk sound caught the attention of producer Pierre Jaubert, leading them to become the resident session musicians at his independent Parisound studio.
Immersed in the local influences, Ice began integrating African-inspired chants, textures, and rhythms into their distinct funk style. In 1973, the group recorded their debut album, ‘Each Man Makes His Destiny’, a psychedelic funk exploration that hinted at the evolving sound that would later define them as the Lafayette Afro-Rock Band and, eventually, Ice once more.
Produced by Jaubert, the album brings some powerful social commentary on claustrophobic tracks like ‘Too Little Room’ and ‘Suicide’, under-pinned by a determination to succeed despite the adversity.
Remastered by The Carvery.

Securing his place in the scene as a mainstay after consecutively acclaimed releases on his own record label and beyond as well as lengthy touring around the globe's best venues, Altinbas returns to Token the only way he knows how. The Fuse resident's ethereal mark on driven techno comes this time with an aquatic touch, diving further into his bubbly architecture and melodic intrigue.

'Voyage' can mean many things; the past few years have been an incessant trip across the world's greatest sound systems and most dedicated audiences for the Belgian producer, or then perhaps it's a reference to the climactic and emotional nature of his productions. In any case, it's also the title track for his third EP on Token Records. Balancing warmth and anticipation, Altinbas is able pack in all the elements of a timeless record while still providing the space to breathe. Smooth and introspective, 'Voyage' kicks off the EP on a cloud of a club roller. 'Stygious Night' shares the first side with a more minimal but nonetheless effective approach. The tonal synth work on this record begs for a powerfully round system worthy of only the best dancefloors, and the space that washes around in the background gives it true dimension. Maintaining minimalism with structure through drum arrangement, 'Stygious Night' is reminiscent of a not so distant past in Berlin crafted with a clearly modern approach. As the record flips, 'Venus Ballroom' takes us by surprise with an uncommonly resonant sound at the forefront. This stylistic switch blends perfectly with historic tracks on the label that have come to define its sound since 2007. Hypnotic, psychotic, quirky, and mental - 'Venus Ballroom' proves a deep understanding of the music and appreciation of versatility. 'Psychosphere' closes down the EP with a classic sound of dissonant stabs to resonate through a foggy room. Altinbas highlights his sound with frantic clap sequences and short rides to keep his percussion rolling but dry while his synths create the acoustic he's been known to craft for the past few years. To have everyone agree on level of taste and technical capability is tough, which is why this certainly won't be the last time Altinbas will team up with Token to roll out his cutting-edge work.

40th ANNIVERSARY PRESSING ~ REST IN POWER DANAN POTTS

DETROIT 1983: You might know Danan from his first release in 1982 under the alias Superlife. At that time Danan was hanging around the Recording Institute of Detroit where Juan Atkins was training in production. Danan was interested in Atkin's style of dance music and quickly recorded "Go Bananas" (soon the be re-released on PPU records). Bananas was released locally on Southern Sun Records in hyper limited quantity, it is today one of the most sought after underground detroit techno recordings of all time. Only a year later Danan would find himself back at the Recording Institute working with Orlando Cash on his second release "Psycho For Your Love". Productions in this style were given the artist name "Westwood" or "Clint Westwood". Danan was working close to 100 hours a week next to George Clinton, and certainly some p-funk had rubbed off on Danan. Peoples Potential Unlimited PPU-025 features both original versions of the infamous second release from Danan Potts aka Westwood/Cash "Psycho For Your Love" and "Work Those Joints", there are also two brand new PPU edited versions of both tracks! This record is dedicated to the late Danan Potts and his family.

Following the huge acclaim of Matt Berry’s 2021 album The Blue Elephant (“A sonic odyssey” – Uncut) – as well as last year’s one-off album of library music collaboration with the KPM label (“another string to Berry’s impressive bow” – Prog magazine) – we present Heard Noises, Matt’s eighth studio album with Acid Jazz, out 24 January.

We’re hugely excited to offer a beautiful label-exclusive gatefold edition on Psychedelic Swirl colour vinyl, alongside the standard version Sky Blue LP, as well as corresponding soft-pack CD and retro Cassette.

Out now, lead single ‘I Gotta Limit’ finds Matt trading lines with Kitty Liv (Kitty, Daisy and Lewis) as a man after a second chance with a woman impatient with his pleading. With a song structure inspired by Sly Stone, in a little over three minutes ‘I Gotta Limit’ crams in a plethora of musical ideas on an instantly catchy song which is part Northern Soul, part psych.

In contrast to The Blue Elephant’s dizzying trip through an idiosyncratic love of British Psych, Freakbeat, Acid Rock and late ‘60s pop, Heard Noises finds Matt heading for a looser, Californian psychedelia through his love of the trippier sounds of space pop and rock, and his ear for an eerie, haunting melody.

Once again, the album is testament to Matt’s exceptional musicianship, production skills and songwriting prowess. Almost every instrument is played by Matt including guitars, bass, a variety of keyboards (acoustic and Wurlitzer pianos), synthesizers and organs (including Moogs, Vox, Farfisa, Gibson, Eminent organs) and Mellotron.

He is joined by long-time collaborator, neo-progressive drummer Craig Blundell, and guests including Pokerface’s Natasha Lyonne and back with Matt is The Shins/Fruit Bats’ Eric D. Johnson (acoustic guitar, autoharp and backing vocals on ‘Why On Fire?’, ‘To Live For What Once Was’ and ‘Snakes That Slide’), Phil Scraggs (lap steel guitar on ‘To Live For What Once Was’ and ‘Snakes That Slide’), Rosie McDermott (vocals on ‘Sky High’) and the S. Club 60s Choir (featuring Matt’s mum).

In many ways Heard Noises could be considered the perfect distillation of the extraordinary breadth of musical ideas across Matt’s albums to date.

REMASTERED REISSUE of the legendary Pentagram 6th album with brand new artwork and coloured vinyl. Show 'Em How is the sixth album by American doom metal band Pentagram. It was released in 2004 by Italian label Black Widow Records. This album featured Bobby Liebling on vocals backed up by three members of Internal Void. Now it's time for a brand new remastered version with new artwork designed by Luca Solomacello.

Royal Blue Vinyl. REMASTERED REISSUE of the legendary Pentagram 6th album with brand new artwork and coloured vinyls. Show 'Em How is the sixth album by American doom metal band Pentagram. It was released in 2004 by Italian label Black Widow Records. This album featured Bobby Liebling on vocals backed up by three members of Internal Void. Now it's time for a brand new remastered version with new artwork designed by Luca Solomacello.

Seit sie die Wiener Musikszene mit ihrem Debüt ,Trouble" (2022) und dem Nachfolger-Album ,Lightning Trails" (2023) im Sturm erobert haben, etablierten sich die Jangle-Pop-Maestros Laundromat Chicks in jenem seltenen musikalischen Terrain, in der sich Humor, Übermut und Verletzlichkeit überschneiden. Von pubertären Power-Pop-Hymnen bis hin zu knackigem Jangle-Pop sind Laundromat Chicks die Art von Band, die einen an alle Lieblingsbands auf einmal erinnert. Auf ihrem Album ,Sometimes Possessed" (Siluh Records) erweitert die Band ihre Soundpalette. Mastermind Tobias Hammermüller führt sein Songwriting in neue Bahnen, indem die gewohnt schlagfertigen Gitarrenhymnen mit abstrakteren, sanfter klingendenmusikalischen Ideen abwechseln. Das Quartett, bestehend neben Hammermüller (Gesang/Gitarre) aus Theresa Strohmer (Gitarre/Gesang), Felix Schnabl (Schlagzeug) und Lena Pöttinger (Bass), war von Anfang an sehr produktiv - sowohl bei Laundromat Chicks als auch bei anderen Projekten. So spielen Strohmer und Pöttinger auch in der Garage-Pop-Band Topsy Turvy, während Schnabl sein eigenes 60er-Jahre-Garage-Punk-Projekt Salamirecorder hat und in der Psychrock-Gruppe Telebrains Schlagzeug spielt und singt. Laundromat Chicks' erste beiden Veröffentlichungen bei Siluh Records, sind eine Fundgrube an zu entdeckenden Gitarrenpops, z.B. die Single ,You're on the Line" ist so witzig undeindringlich wie jede pubertäre Powerpop-Hymne diesseits von Buzzcocks und The Undertones, während ,Nobody Believes Me" den eisigen Fatalismus von Joy Division mit dem knackigen Jangle von The Babies and Girls verbindet. Es steht außer Frage, dass die Laundromat Chicks in nur 20 Minuten eine Band sein können, die dich an alle deine Lieblingsbands auf einmal erinnert, aber auch gleichzeitig in neue, aufregende Gefilde entführen kann. Auf Sometimes Possessed erweitert diese speziellen Gebiete erheblich: Die bislang gewohnten 20 Minuten dehnen sich nun zu einem inspirierten 30-minütigen Fiebertraum aus. Damit sich die Gefühle entfalten konnten, musste der Startpunkt des Albums irgendwo aus einem abgelegenen bzw. fast vergessenen Fundus kommen. Das Ergebnis ist Laundromat Chicks' hitzeverzerrte Interpretation der von Ray Davies geschriebenen 60ties Ballade ,This Strange Effect", ein schwindelerregendes Duett, dargeboten von Sänger Hammermüller mit Gitarristin Theresa Strohmer als Duett.

Diagonal Records proudly welcomes a new face to the label. Off the back of recent 13th birthday celebrations, Diagonal is now looking to the future with an exciting release from Australian upstart, Jonus Eric. Jonus has recently appeared on Gerd Janson's iconic Running Back label. This 12" EP features centre label artwork by Guy Featherstone inspired by Peter Saville's work for Factory Records.

The "Diode" EP comprises 6 tracks of sample – laden, psychedelic house music. EP opener, "Darkwhirl" brings to mind Theo Parrish, a regular reference point across the release. "Crimewave" offers an irresistible, funk soaked bassline. "Shapeshift" is when things get gnarly! "Antibiotics" reimagines a classic Todd Terry rave cut whilst EP closer "Polarity" provides a 90's IDM inspired finale.

Wewantsounds is delighted to announce the release of Al-Qasar's new album, "Uncovered", is a side-project from the group featuring covers from the Western and Arabic repertoires, as well as new originals composed by the group. The album was recorded in Europe and Africa and features guest appearances by Alsarah, Mamani Keita, Cheick Tidiane Seck and Sami Galbi. The group, who has recently come out of a US tour will give more concerts in 2025 to support the album and spread further their Arab-futurist psych rock sound.

Matt Berry returns with his first new solo album since 2021’s ‘Blue Elephant’. This time he delivers a Soul and West Coast Psych-inspired collection of songs, which attach an innate sense of melody to a lush, contemporary take on classic recording techniques. All of this is allied with Matt’s rich voice and unique lyrics.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

HMS Bounty's Things! (1968) features psychedelic rock, remastered sound, and original artwork.

1971 debut album by Merrell Fankhauser's band blends West Coast psychedelia and bluesy rock.