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A legendary chapter of hard rock history comes to a thunderous conclusion with The Final Ride, the ultimate live release from Lynch Mob, capturing the band’s final run on stage with uncompromising power, precision and attitude. Available on CD/DVD, Blu-ray and LP, The Final Ride delivers a fully immersive live experience, meticulously recorded, mixed and mastered by Chuck Alkazian at Pearl Sound Studios, ensuring outstanding sonic clarity while preserving the raw intensity and immediacy of a true Lynch Mob performance. The setlist is a powerful career-spanning journey, combining cornerstone Lynch Mob classics with three iconic Dokken-era songs that remain inseparable from George Lynch’s legacy. Explosive performances of “Lightning Strikes Again,” “It’s Not Love,” and “Paris Is Burning” ignite the crowd and serve as a direct bridge between past and present, while Lynch Mob anthems such as “River of Love,” “No Good,” “Hell Child,” “Let the Music Be Your Master,” “Street Fighting Man,” and the timeless closer “Wicked Sensation” showcase the band at full force. At the heart of The Final Ride stands George Lynch, whose unmistakable guitar tone, phrasing and musical authority continue to define generations of hard rock and metal guitarists. He is backed by a formidable lineup featuring Gabriel Colon (vocals), Jaron Gulino (bass) and Jimmy D’Anda (drums), delivering a tight, aggressive and emotionally charged performance worthy of the band’s legacy. The Final Ride is more than a live album—it is a farewell, a celebration and a definitive statement. Captured with premium production values and released across multiple physical formats, it stands as an essential document for fans, collectors and anyone who has followed the enduring impact of George Lynch and Lynch Mob on hard rock history. The final curtain falls—but the fire still burns.

Roots & Wings marks the electrifying debut of 20-year-old blues-rock sensation Amani Burnham, who has captivated millions on social media with his raw talent and magnetic presence. Released on the acclaimed Blind Pig Records, this 12-track collection showcases Amani's remarkable guitar work—played uniquely with his right-hand thumb rather than a pick—alongside soulful vocals and introspective songwriting. From the turbo-charged instrumental "Fastlane" to the deeply personal title track reflecting on his Ethiopian roots, the album crackles with groovy blues-rock riffs, cosmic solos, and stinging vibrato. Recorded at the renowned Carriage House Studios with a classic power-trio setup, Roots & Wings honors the legacy of blues-rock giants while heralding a bold new voice for a new generation.

For over five decades, Tina Turner redefined the genres of rock and soul. What began in the 1950s evolved into one of the most successful careers in music history. Her journey, her power, and her timeless beauty are legendary today. This exclusive, strictly limited 12" vinyl edition is dedicated to the roots of this exceptional artist. It features remastered rarities. With its sophisticated presentation, this record is the centerpiece of any discerning collection.

WRWTFWW Records presents an ultra limited (100 copies !) vinyl edition of Meemo Comma’s Decimation Of I album, originally released digitally in 2024 on Mike Paradinas' Planet Mu label. The collector’s pressing is housed in a heavyweight sleeve.
Decimation Of I is the fifth album by Brighton-based electronic musician Meemo Comma. It's a work based on the Strugatsky brothers‘ 1971 novel Roadside Picnic, a book that was also turned into the Russian cult classic Stalker by Andrei Tarkovsky. The inspiration came from reading the book alongside the backdrop of global climate disasters where an environment is rapidly becoming less habitable, all while powerful nations occupy and commit genocide.

The rough story of both film and novel is about a select group of characters exploring a land that has been transformed by alien visitors. We never meet the extraterrestrials, nor is it important to, we only have the artefacts left behind. The environment itself becomes the character, neither wholly Earth-like nor alien, but a surreal blend of both, inviting introspection on our insignificance amidst profound change. Within this land’s rebirth, our characters confront ego death, a necessary step towards the profound revelation, the discovery of one's true desire in the absence of ego.

The album opens with the innocent flutes of ’They, spoke,‘ and the disorienting electronica of ‘The Soldier‘ building towards the Terry Riley like undulating clarinets of ‘The Poet’, whose intertwining synth organ drones set the scene. Nods to the seventies electronica of Wendy Carlos and Eduard Artemyev can be heard with the use of Bach melodies in ‘P3Alpha Exotoxin‘ and ‘Area X,‘ however each of these songs draw the listener to primal noise undercurrents, their disintegrating melodies hinting at humanity's gradual dissolution, unveiling profound revelations beyond our comprehension.

As the album reaches its midpoint, ‘Spectral Alignment‘ paints a hazy morning prairie scene with Aaron Copland style French horn, restful woodwinds, spatial arpeggios and a warm drone culminating in an emotional pitstop as the soldiers wake in the dewy morning of this alien landscape, unaware the last of their humanity remains.

The last sentence in Roadside Picnic “HAPPINESS FOR EVERYBODY, FREE, AND MAY NO ONE BE LEFT BEHIND!” is the inspiration for ‘As It Is Written.’ We can either take from this the total annihilation of self has been filled with propaganda from their homeland, or the epiphany of their own autonomy in the war against a land and its inhabitants.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

A collection of hit songs released at the time of the TV anime "Dragon Ball", including rare insert songs, has been reissued on clear orange vinyl. This is a truly one-star ball (Yishinchu) disc!

A collection of hit songs that also includes the opening theme song "Makafushigi Adventure!" and ending theme song "Romantic Ageruyo" released in 1986. The "Son Goku Song" is sung by Masako Nozawa, the voice actor for Son Goku, the main character of Dragon Ball, and the "Wolf Hurricane" is sung by Toru Furuya, Yamcha's voice actor, Hyuma Hoshi from Star of the Giants, and Amuro Ray from Mobile Suit Gundam. Contains a total of 10 songs, including "Mutenroushi no Oshie" song by Kohei Miyauchi, the voice actor of Master Roshi! A must-have for Dragon Ball fans!

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Info on the Russian producer Curity is shrouded in mystery but this EP on Acquit is enough to suggest whoever they are, they know how to craft seriously sophisticated techno. 'Synthetic Mind' is deep and cavernous with deft pads and beautiful chords swirling over the dusty drum work. 'Standart Routine' picks up the pace with bumpier drums but still warm atmospheres and 'Ephemeral' is another inviting, immersive deep techno sound with gorgeous synth work. '(D)lirium' shuts down with a classy touch of Motor City steel.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Ein neues dynamisches Kapitel in der Diskografie von villagerrr: Carousel, das fünfte Album von Mark Scott als villagerrr, bewegt sich von Slowcore zu Shoegaze, von Log-Cabin-Folk zur beschleunigten Glückseligkeit des Rocks, der wie geschaffen ist für eine leere Autobahn. ,Carousel" ist das bisher kühnste und feinfühligste Album des Songwriters aus Ohio und eine umfassende Erkundung dessen, was es bedeutet, in einem überbelichteten und einengenden Zeitalter aufrichtige Kunst zu schaffen, in dem Scotts große Songs aus dem Mittleren Westen von dem Wunsch geprägt sind, in einer von Kommerzialisierung geprägten Ära nach bleibender Bedeutung zu suchen. Scott stellte die Musik im Laufe von zwei Jahren zusammen und ließ den kollaborativen Geist seines vorherigen Albums aufblühen. 2024s ,Tear Your Heart Out" führte zu Tourneen mit Real Estate, Greg Freeman und Momma, einem neuen Plattenvertrag mit Winspear und einer kürzlichen Deluxe-Neuauflage, wodurch sich der Kreis der Zuhörer und Mitwirkenden vergrößerte. ,Carousel" enthält eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott selbst gemischt, nachdem er sich die Aufnahmen angehört hatte. ,Carousel" bietet eine Mischung aus Scotts aufstrebenden Folk- und Indie-Rock-Kollegen wie Boone Patrello von Teethe, h. pruz und Carolina Chau e von Hemlock und wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Laufen angehört hatte. Mit Scotts feinem Gehör für Details und weitläufige Landschaften fühlt sich das Hören von villagerrr an, als würde man in das Gras der Prärie spähen, um zu sehen, was dort krabbelt, und dann plötzlich aufstehen, um die Pracht eines herannahenden Sturms zu beobachten. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft. Das Album wurde von Scott gemischt, nachdem er sich die Rohfassungen auf langen Autofahrten oder beim Joggen angehört hatte. Mit Scotts ausgeprägtem Gespür für Details und weitläufige Klanglandschaften fühlt man sich beim Hören von villagerrr wie beim Beobachten von Insekten im Präriegras, um dann plötzlich aufzustehen und die Pracht eines herannahenden Sturms zu erleben. Carousel hegt eine gesunde Skepsis gegenüber der Welt, in der wir leben, aber es liefert auch den Beweis, dass man, wenn man seine Schutzmauer fallen lässt und auf andere Menschen zugeht, kreative und bereichernde Beziehungen aufbauen kann - und damit die Grundlage für ein tiefes, sinnvolles Leben schafft.

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster

Long overlooked outside specialist circles, Drammi e Speranze is presented for the first time ever on vinyl reissue, newly remastered to highlight the depth and tonal richness of Umiliani’s arrangements.

Originally released in 1976 on Piero Umiliani’s own Sound Work Shop imprint, Drammi e Speranze—issued under the pseudonym Rovi—stands as a refined example of his late-period library work.

Performed by a compact string ensemble and subtly augmented by piano, Hammond organ, Eminent organ, and Rhodes, the album unfolds through a series of classically-informed compositions where melody takes center stage. Each piece is concise, evocative, and purpose-built—reflecting the functional yet highly expressive nature of Italian library music at its peak.

Conceptually, the record is structured in two contrasting halves: the first side explores themes of optimism and resolution, while the second delves into darker, more introspective territories, mirroring the emotional duality suggested by its title (Tragedies and Hopes).

This release celebrates 100 years since the birth of Piero Umiliani, honoring the enduring legacy of a composer whose work continues to resonate across cinematic, library, and contemporary sample-driven music.

©℗ 1976, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musicali

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

Born out of a shared pop-up studio on the 5th floor of an Omotesandō shopping mall, “Paradox” is the rousing result of a compelling musical collaboration between two British-born, Tokyo-based producers: The Magus Project (Rhythm King / The White Label, Silk Road Sounds, WhatSonic?) and Submerse (Hooversound, Future Retro, Straight Up Breakbeat, Breaker Breaker).

It also marks a collaborative first between The Magus Project’s own WhatSonic? label and Yeti Out’s imprint, Silk Road Sounds.

The archetypal DIY split-single approach — two individual artists offering a track each across a single release — is magnificently elevated in this case by a powerful connective force, in the guise of a shared rhythm spanning Paradox’s non-identical-twin tracks; a relentless pulse that, uniquely, allows either track to be mixed effortlessly into the other, bridging the transition between 126 and 168 bpm or vice versa.

Different speeds, different tracks, identical pulse: making the bpm matter and, well, not matter all at once: a kind of Schrödinger’s tempo, a thought-experiment in sonic form, an either/or/both of genre-spanning stylistic enquiry.

Eine Sammlung von 21 Titeln mit Klassikern aus „Mister Rogers’ Neighborhood“.• Gepresst auf opaken gelben Vinyl.• Begleittext von dem mit einem Oscar und einem Grammy ausgezeichneten Regisseur Morgan Neville und dem Fernsehkritiker Robert Bianco aus Pittsburgh.„Mister Rogers’ Neighborhood“ feierte vor über fünf Jahrzehnten seine Fernsehpremiere. Auch wenn es manchen noch wie gestern vorkommt, als die Sendung brandneu war, ist es doch herzerwärmend zu wissen, wie sehr sie Teil des Lebens unzähliger Kinder und Erwachsener war, die die Sendung über die Jahrzehnte hinweg erlebt und daraus gelernt haben.Obwohl seine Popularität nie nachließ, hat der 2018 erschienene Dokumentarfilm „Won’t You Be My Neighbor?“ des Oscar- und Grammy-Preisträgers Morgan Neville unsere Liebe zu Fred Rogers neu entfacht und ihn einer neuen Generation vorgestellt. Mit dem bevorstehenden Kinostart von „A Beautiful Day In The Neighborhood“ (mit Tom Hanks als Fred Rogers) im November werden der geliebte Mister Rogers und seine Nachbarschaft wieder einmal im Mittelpunkt der Herzen, Gedanken und Ohren aller stehen.„It’s Such A Good Feeling: The Best Of Mister Rogers“ versammelt 21 Lieder des beliebten Moderators (begleitet von seinem langjährigen Partner und Pianisten Johnny Costa, Carl McViker am Bass und dem Percussionisten Bobby Rawsthorne). Neben Klassikern wie „Won’t You Be My Neighbor“, „You Are Special“ und dem Titelsong enthält diese Veröffentlichung auch fünf bisher unveröffentlichte Titel, darunter den ursprünglichen Schlusssong der Sendung, „Tomorrow“.Diese LP ist auf opaken gelben Vinyl gepresst und die Verpackung enthält Fotos, eine Einleitung von Neville sowie einen Essay des Fernsehkritikers aus Pittsburgh (und langjährigen Mitarbeiters von USA Today) Robert Bianco. Also, steigt in den Trolley zum Land Of Make Believe, denn es ist wirklich so ein gutes Gefühl.

First EP from new Australian label Royston Park Records is straight out the gate with five heavy tracks from High Priestess - Raw Loops For The Heads. Drawing inspiration from tech-house, electro and more!

Back in 2023, Bruce was approached by a band of young and ambitious lads, who wanted him to mix their debut album 'Nacre'. Being fans of his music, they hoped to utilise his renowned, club-informed and emotive sound design to add a shade of hypnotism and psychedelia to their singular strand of post-rock. The band of course were Quade, and the union proved to make perfect sense: Bruce excelled in gracefully fulfilling the band's vision, sealing their relationship for projects to come.

A couple years on, both Quade and Bruce had really proved the scope of their abilities: the sophomore album 'The Foel Tower' won the hearts of fans and critics across the board, who celebrated its "gorgeous" and "tender" sound to great acclaim. The world they had built clearly stood defined and dignified, though at the same time, Bruce couldn't help but wonder if there was more to be said. Besides, the sheer abundance of emotion and rich textures therein, suggested a great deal of potential for further exploring. So with the band’s blessing, he embarked on versioning the album.

Bruce was off the leash: total freedom leant him the ability to dub in wild style, weaving and wrestling with drum, bass et al, connecting to the arrangements' true feelings and expanding them to full frame. The "doomer sad boy, ambient-dub, folk, experimental post-rock" of the original, was blown into a whole new, hypnotic realm: through rattling analogue distortion and huge spaced out effects, Bruce's efforts stand as an exploding supernova of dub and noise, refracted through the band's themes of grief, beauty and the great British countryside.

To be released on his label Poorly Knit, this remix album once again proves Bruce's deft of touch and skill in reworking material. Maximising the sonic potential of such a promising and talented band he marks his personal contribution towards what will surely continue to be a fulfilling and illustrious musical journey for Quade.

Available digitally and on super limited cassette (50 copies)

With their debut album "Invictus," Stairway To Violet open the door to a world where cinematic rock meets emotional storytelling, atmospheric sounds, and uncompromising honesty. The album is a cinematic experience—a soundtrack for life's darkest and brightest moments. In 13 intense songs (plus two exclusive piano versions), "Invictus" tells of inner struggles, abysses, ecstasies, and the courage to rise again even from the most fragile moments. The band combines epic soundscapes with modern rock-to-metal dynamics, powerful vocals, and an aesthetic depth that immediately resonates and gets under your skin. "Invictus" leads through drug-induced euphoria and psychedelic distortion ("Love Death & Pixiedust," "Come Spirit Come"), through destructive passion ("Paranoia," "My Heart's Cut Open"), and through the wild, raw primal force of humanity ("Animal," "It Thrills It Kills"). The song "Unholy War" bears its title because there is nothing sacred about war. "Parade Of Stars" leads deep into the universe amidst the sounds of the planets, to a humble search for the source. "Invictus" means "unconquered." The term represents the motivation to forge a new place in life and not be defined by past trauma.

TASAVALLAN PRESIDENTTI’s legendary sophomore album reissued on vinyl Tasavallan Presidentti are one of the most loved Finnish progressive rock bands of all time. Their second album II has become a very hard to find collector’s item, with Svart Records reissuing it officially on vinyl for the first time back in 2014, in close co-operation with the band members. The reissues sold out fast and it’s about time to bring back this timeless classic on vinyl, for the ages. Tasavallan Presidentti was established in 1969 by guitarist Jukka Tolonen and drummer Vesa Aaltonen. Joined by the English-born singer Frank Robson, bassist Måns Groundstroem, and saxophonist-flutist Juhani Aaltonen, who left the band after the release of the first album and was replaced by Eero Pöyry. Their sophomore album that resulted with this new lineup is highly praised for the band’s exceptional instrumental skills, and the album’s mix of harder, jazzier tracks with mellower, flute-infused pieces. II is now presented with new vinyl colours packed in a tip-on sleeve, with an insert featuring photos and interview with Aaltonen, Tolonen, and Robson.

TASAVALLAN PRESIDENTTI’s legendary sophomore album reissued on vinyl Tasavallan Presidentti are one of the most loved Finnish progressive rock bands of all time. Their second album II has become a very hard to find collector’s item, with Svart Records reissuing it officially on vinyl for the first time back in 2014, in close co-operation with the band members. The reissues sold out fast and it’s about time to bring back this timeless classic on vinyl, for the ages. Tasavallan Presidentti was established in 1969 by guitarist Jukka Tolonen and drummer Vesa Aaltonen. Joined by the English-born singer Frank Robson, bassist Måns Groundstroem, and saxophonist-flutist Juhani Aaltonen, who left the band after the release of the first album and was replaced by Eero Pöyry. Their sophomore album that resulted with this new lineup is highly praised for the band’s exceptional instrumental skills, and the album’s mix of harder, jazzier tracks with mellower, flute-infused pieces. II is now presented with new vinyl colours packed in a tip-on sleeve, with an insert featuring photos and interview with Aaltonen, Tolonen, and Robson.

Michael Hurley ist einer der besten und produktivsten Songwriter der Welt. Diese LP enthält Heimaufnahmen, auf denen Michael Gitarre, Banjo und Orgel spielt. Erhaben und manchmal ein wenig seltsam - ein neuer Klassiker für die Ewigkeit. Zu den Songs gehören ,The Kentucky 3" - ein wunderschönes Instrumental-Medley aus Liedern, die an Kentucky erinnern, ,Charona" - eine großartige Banjo-Ballade, ,Tender is the Guitar" - eine traurige, von der Orgel getragene Ballade, ,Boone and Jocko" - ein langjähriger Favorit aus Michaels Live-Sets, der endlich auf Platte erschienen ist, ,Cuckoo Rock" und ,Lo Bonney" - zwei einzigartige Neuinterpretationen traditioneller Balladen, ,Dragging the Indian" - ein karges Instrumentalstück und vieles mehr. Lassen Sie sich dieses Meisterwerk nicht entgehen. Covergestaltung von Michael selbst.

In the world of Smote, going further out means going inward. Less a metaphysical journey into inner space, more a physical journey into the ground itself, converging with its roots and vibrations. What's more, a journey right to the heart of its principal architect's daily experience. Smote's fifth release for Rocket Recordings, and their deepest, most fully realised to date. Forged from repetition and mantric intensity and possessed of formidable psychic fortitude, this album prove that the only retro-chic Smote indulge in is liable to go back several centuries. The megalithic monomania of last year's A Grand Stream set a formidable precedent, and Smote's live shows in its wake have gradually built a reputation as visionary seers building audial monuments by cranked amplification and atmospheric intensity alike. Yet these five gnostic serenades offer portals and paradigms anew. Continuing Smote's exploratory mission into heaviness in all its forms. Songs From The Free House sees Foggin exploring a variety of new avenues. Therefore, whilst listeners might align the pantheistic forays into drone-based abandon with previous travellers like Earth and Om, the influence of folk songs and legends, as well as electronic music make their presence felt. "I've been listening to heavy electronic stuff like Puce Mary and The Body" adds Daniel, "Stereotypically guitars are often seen as the instrument for "heavy" music, but the sheer force that's available from electronics is something that will crumble most guitar centred music." Elsewhere a more melodic vocal based structure is writ large amidst these rites and revelations, particularly on The Linton Wyrm, which proceeds from devotional chant to a potent conclusion, also inspired by Foggin's everyday surroundings. Wrought from the earth, transposed to the ether, and now shared with the world at large, this album marks a transcendental journey where Smote render ancient and modern indivisible. Just as traditional music is passed down through generations, Songs from the Free House is where the primal collides with the eternal.

The band has intended to carry on the legacy of early High energy early Classic Thrash insanity. Their quickly sold out 'Rise of Death' self released demo recorded in band leader Adrian Tobar's garage and It was later reissued by Iron Fist and Redefining Darkness records . The band much acclaimed debut 'The Warriors Awakening ...Brings The Unholy Slaughter ' came out in 2021 gathering a great response worldwide. Swedish metal ragers ETERNAL EVIL now return with their third full- length album 'Forever Feared'. Following the release of the furious The Gates Beyond Mortality , ETERNAL EVIL wasted no time, immediately embarking on their quest for world domination. Carving their path through Sweden's vast music landscape, the band quickly claimed their spotlight--opening for In Flames at the legendary Dalhalla, sharing the stage with the mighty Cavalera Brothers two nights in a row, and delivering a full- throttle set at Sweden's largest rock gathering, the Sweden Rock Festival.

In the early 1970s, Milan was a city defined by a restless, creative energy. Its recording studios hummed with activity day and night, populated by an elite circle of jazz-trained session musicians who split their time between tracking dates in the studio and jam sessions in the city’s clubs. Among them was Giancarlo Barigozzi, one of the most revered flautists and saxophonists of the scene, who was just then beginning to navigate the enigmatic world of library music.

The Barigozzi Group – formed alongside guitarist Sergio Farina and pianist Oscar Rocchi, both fellow session musicians – became a defining ensemble of Italian library. Commissioned by publishers in Milan and Rome, they produced some of the most exquisite library LPs of all time, records that effortlessly translated the spirit of the era into sound.

Of these, Woman’s Colours stands as arguably their most iconic and celebrated achievement. Originally released in 1974 on the Fonovideo label under the artistic supervision of Fabio Fabor, the album is a cohesive, organic exploration of a single theme: a refined tribute to the female form, with every track associating a specific colour with a different part of the body (“Violet Lips”, “Green Nails”, “Lilac Arms”, etc.).

While the subtitle "Pop Jazz – Pianoforte Elettronico Wurlitzer" might suggest a simple affair, the reality is a surprisingly rich and layered sonic universe. Here, jazz-funk and jazz-rock intertwine with echoes of Afro-rhythms, exotica, and bossa nova. The result is a vibrant mosaic of fusion and lounge, where driving basslines, fuzz guitars, Fender Rhodes, and prog-leaning flutes create a soundscape that balances elegance and groove in equal measure.

Over the decades, the record has attained true cult status, cherished by successive generations of dedicated collectors and listeners. It is now recognized as essential to the very definition of the Italian psycho-beat sound, standing shoulder-to-shoulder with the likes of I Marc 4 and Alessandro Alessandroni, while remaining a foundational milestone for acid-jazz and funk enthusiasts. Above all, it is a rare example of a library record so consistent and fluid that the listening journey, from start to finish, remains entirely seamless.

Today, Woman’s Colours is finally available again in its first official reissue, and for the first time in digital format. Presented by Four Flies Records, this edition features a premium tip-on sleeve and meticulously restored artwork by Eric Adrian Lee.

Long overlooked and pressed in modest quantities, the album quietly built a reputation among collectors as one of those rare low- budget releases where the artistry far outweighed the resources behind it. Fronted by the charismatic Herbie Hunte, whose warm and expressive vocals drive the record throughout, the Royalists blend blue-eyed soul, post-beat pop, light psychedelia and baroque flourishes into a sound both sincere and distinctive. From the infectious opener "Baby I Love You" to the ambitious "Royal Suite" and the atmospheric instrumental standout "Lost Voyage," the album showcases a band making inspired music with heart, energy and imagination. Despite its humble origins, The Soul of The Matter stands today as a rediscovered gem--passed between collectors and crate-diggers for decades. Now lovingly reissued by Morgan Blue Town, this edition finally gives the album the attention and presentation it deserves.

Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.

2025 Repress
2xLP 140g smokey green vinyl, gatefold sleeve including board game with tokens.

Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

Born 2 Be Free rolls out a third call to the dance floor here and it comes from Azaad. He kicks off with the low-slung 'Automatic' which has a cool-as-you-like swinging groove, dusty hi-hats and aloof vocals piercing the mix. Wispy pads and warped bass bring touches of old school garage but the palette is distinctly contemporary. 'Swagged Out' ups the ante with some sleazy garage shufflers and a steamy vocal sound that draws in between the edgy synth stabs. Last of all is maybe the best. 'Doin' It Again' is a heady and clean sound with swirling cosmic pads and a slick, minimal rhythm that makes you throw down your best moves.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

A conjuration between our favourite dreamweaver Spencer Clark and Italian psychic traveller Mondo Riviera, Lorenzo's Oil present an oracle of aural travelogues between seen and unseen worlds on 'Paperopolis'.
Two likeminded individuals on their distinct but complementary quest for the netherworld, Clark and Riviera's meeting of the minds projects sonic artefacts assembled from lucid dreaming keyboard pads, narcotic late night TV rhythms, spiralling sequences and mangled voices.
The 10+ minutes 'Neo-Paperopolis Jump Suite' makes these intentions quite clear right from the start, veering from no frills keyboard runs to a mid tempo bounce and on towards the house of mirrors synth stabs and driving rarefied percussion that close the suite and open the pathway to such "places" as 'Central Jungle, Paperopolis' and "visions" as 'The Neverending Skylines of Taipei'. Ride on.  

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.