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The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's `Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term `regret pop' to describe the music they made on the `Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here."Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

THE KORGIS’ latest album release ‘Orchestrations’ beautifully re-imagines in amazingly inventive and unexpected ways the greatest songs of this inspirational chart-topping band with a fully-orchestrated classical treatment.

Opening with the immortal line “Change your Heart, look around you, change your Heart, it will astound you” from international hit and one of the greatest love songs ever, “Everybody’s Got To Learn Sometime”, these brand new classical interpretations weave their way through the The Korgis’ rich tapestry of song-writing.

Featuring the1979 Andy Davis-penned debut hit “If I Had You”, The Beatles homage “Something About The Beatles”, enduring fan favourite “All The Love In The World”, original Trevor Horn production and South American hit “Don’t Look Back”, concluding with prophetically-entitled James Warren and Andy Davis collaboration “This World’s For Everyone”, ‘Orchestrations’ is a fitting tribute to over 40 years of class song-writing.

Total Touch was the Dutch duo of Trijntje Oosterhuis and Tjeerd Oosterhuis that infused music with a unique blend of smooth vocals, jazzy harmonies, and funky grooves. After the quintuple Platinum debut album, the follow-up was a guaranteed success. The album is a mix of infectious R&B, pop, and experiments with rap and dance. This Way entered the Dutch album top 100 at number 1 and immediately went Gold. That year the band made their first serious attempt to take their success beyond the Dutch and German borders. The band entered the US Billboard Dance Chart and were nominated for an MTV Award. Eventually, "This Way" became the band's swan song, with another mega hit in the form of "I'll Say Goodbye". In the end, This Way turned out to be the final studio album by the Dutch duo.

2023 marks the 25th anniversary of This Way and is therefore available on vinyl for the first time as a limited edition of 750 individually numbered copies on gold coloured vinyl. The vinyl package also includes an insert.

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE

Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.

Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.

Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.

Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.

The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.






















































[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

After collaborating together for more than a decade, Jenny Hval and Håvard Volden released their first album under the Lost Girls moniker in 2021: Menneskekollektivet. The record received rave reviews, including a Best New Music mark at Pitchfork. On October 20th, 2023, the duo will release their second album Selvutsletter.


Like its predecessor, the album title is a made up Norwegian word, a word that almost exists. The band’s own translation of Selvutsletter is «self-effacer»: Someone who tries to erase themselves. Someone who is cleaning out themselves. Performing exorcism. Or perhaps just getting older, less interested in their own present self.


In 2022, Lost Girls were booked to perform a concert at Les Subsistances in Lyon, together with a few Norwegian performing arts groups performing their pieces. The band decided to use the opportunity to create all new material, and think of it as a coherent piece. Working in tandem, with Volden creating beats and wild sets of guitar chords and Hval restructuring the parts, creating melodies, words and adding more sounds, they started spiraling into unchartered territory of shorter, more concise and melodic songs than their debut LP Menneskekollektivet.


As the material developed, words already embedded in the chords, guitar sounds and rhythms began to dance around. Lyrics about cities after dark, music rituals and band practices of the 90s, and the early days of the internet began to take shape. These were Hval's own memories of her hometown and her obsession with creating music as a way of leaving it behind or even setting it on fire. Selvutsletter is, in that sense, about retracing Hval and Volden's steps back to how it felt to discover music, the intensely physical and communal experience of creating something. Certain tracks even go back further, to discover possible happenings in Norwegian towns and cities before any of us were born, using elements of faux folk singing.


Where Menneskekollektivet was about exploring club beats, and expanding and trying out structures, Selvutsletter is about disappearing in experiences. It combines the intuitive, late night feel of Lost Girls’ previous work with experimental rock music as its object. The result is more adventurous than nostalgic: A fiery, bilingual whirl of colors, words, vegetation and electricity.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.

This is the first official reissue of The Candles Burning Blue’s highly appraised cult album Pearls Given To The Swine. For two decades the original CD pressing has been sought after but nearly impossible to find. Known for their violent and chaotic gigs, The Candles Burning Blue were an unconventional Gothic Rock band. Instead of romantic beauty they dealt with the harsher aspects of the darkness oozing from their own troubled lives. Even though they only released two CD-r, a split 7” and one full album, their impact on the Finnish Goth underground was a lasting one. Pearls Given To The Swine was recorded in 2000 and released in 2001 on CD, with only 500 official copies pressed. Some years later new copies appeared from shady sources, but basically the album disappeared from the face of the Earth. In 2001 the band started to work on the second album Pleasure Dome and also had some material recorded for the projected third album Abhorrence, but ceased to exist before any of this material was released. Until now. This reissue has a full length bonus disc consisting of these songs. The Candles Burning Blue had its roots firmly in Gothic Rock as performed by bands like Bauhaus, Christian Death, Virgin Prunes and The Cure, but they mixed in elements of experimentalism and art rock. Pearls Given To The Swine is a lost and found classic of Finnish Gothic Rock, and a fine example of Finnish dark culture around the turn of the millennium. Members went on to play in bands like Reverend Bizarre, The Puritan, Werwolf Lodge and Opium Warlords, but never reunited.

Indonesian trio Grrrl Gang builds on their considerable worldwide buzz with Spunky!, their full-length debut album. Released on 22 September 2023 by Green Island Music in partnership with exclusive licensees Kill Rock Stars (United States), Trapped Animal Records (United Kingdom) and Big Romantic Records (Japan and Taiwan), the album is preceded by its title track and first single dropped on May 30, featured from the same title of the album, 'Spunky!' Spunky! arrives following some major life changes for Angeeta Sentana (vocals, guitar), Akbar Rumandung (bass, vocals), and Edo Alventa (guitar, vocals), including a switch in locale from Yogyakarta, the city where they formed the band while still in college. “This is Grrrl Gang’s first release after we graduated and got day jobs that made us have to move to Jakarta, which is undeniably 180 degrees compared to Jogja,” says Rumandung. “But moving to Jakarta enabled us to work with Lafa on Spunky! from start to finish.” The song itself essentially describes Sentana's experience during a manic episode. “I feel like I’m on top of the world, untouchable. I do things without thinking, always chasing after that feeling of instant gratification. I feel extra confident in myself to a point of grandiose thinking and that I could do anything,” Sentana explains. That would be Lafa Pratomo, the in-demand producer brought in to help shape the ten tracks that make up Spunky! With a resume that includes the likes of the chanteuse Danilla and legendary singer-songwriter Iwan Fals, Pratomo might not seem the obvious choice to take the Grrrl Gang producer’s chair. But according to Rumandung, “In terms of production, this was something new for us by working with someone outside of Grrrl Gang’s comfort zone.” Indeed, Pratomo considerably beefs up Grrrl Gang’s sound particularly Alventa’s guitar tones, Rumandung’s rumbling bass, and touring drummer Muhammad Faiz Abdurrahman’s muscular beats while preserving the band’s signature raucous energy, catchy melodies, and Sentana’s attitude-filled, equal-parts-honey-and-vinegar vocals. The music video for Spunky! premieres on the Grrrl Gang YouTube channel on the same day as the release of the song. The video, directed by Bathroom Girls, is part of a continuous movie, with Spunky! being the second chapter. It tells the story of an introverted girl who goes to a house party to validate herself among her peers. Despite facing challenges to her self-esteem, she manages to overcome her discomfort to survive the night. During the party, she watches Grrrl Gang perform Spunky! and is mesmerized by the confident performance of Angee, the lead singer. The girl imagines herself as Angee, a confident and cool person that she will never be. Hailing from the cultural city of Yogyakarta, Indonesia, Grrrl Gang is a rising force in the independent music scene with their infectious melodies, anthemic songs, and electrifying live performances. The power trio, composed of Angee Sentana on guitar and vocals, Akbar Rumandung on bass, and Edo Alventa on guitar, has been making waves in the Southeast Asian music scene since their formation in 2016. Grrrl Gang's music is a celebration of their collective roots and a testament to the power of pop music to connect people across cultures and borders. Their lyrics touch on themes such as feminism, mental health, and relationships with a raw honesty that speaks to a generation of young listeners. With their infectious energy, socially conscious lyrics, and unique sound, Grrrl Gang is poised to take the global music scene by storm and become a voice for a new generation

The House Of Love – guitarist and vocalist Guy Chadwick, lead guitarist
Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans –
formed in London in 1986 - Chadwick had been around the music
industry for several years, but was energised seeing The Jesus And Mary
Chain, inspiring him to form the band - Signing to Creation, The House Of
Love were greeted enthusiastically by the music press and their single,
Shine On and self-titled debut album became indie disco classics - By
1989, the band were big news and had signed to Fontana, part of the
PolyGram group
The group's debut album for Fontana, also confusingly entitled The House Of
Love, was released in February 1990. Known often as 'The Butterfly Album' after
Trevor Key's distinctive artwork, much was made at the time of its protracted
birth and the weight of expectation, and the fact it was produced by five different
people. Years later, it sounds assured and confident commercial indie, bursting
with invention and melody. The re-recording of their Creation calling card, Shine
On, gave them a UK Top 20 hit and Beatles And The Stones points the way to the
gentler side of Oasis some years later.
This re-issue replicates the original 1990 Fontana UK release with printed inner
sleeve and lyric sheet and is pressed onto high quality 180g vinyl.

REMIXED & REMASTERED REISSUE OF THE PINEAPPLE THIEF'S 2003
STUDIO ALBUM
Kscope present 'Variations On A Dream', the third album from The Pineapple Thief
newly remixed by Bruce Soord & remastered by fellow bandmate Steve Kitch.
The Pineapple Thief are one of the leading lights of Europe's experimental rock
domain, led by post-progressive mastermind Bruce Soord, the band have built an
incredibly loyal fanbase over the past 23 years through extensive touring &
consistently lauded recordings. Founder Bruce Soord started The Pineapple Thief
as an outlet for his music back in 1999 & has since released over 15 studio
albums.
Albums like 'Someone Here Is Missing' (2010) & 'All The Wars' (2012) paved the
way to their recent releases. Multiple headline tours followed, including their
biggest headline performance in the UK at O2 Shepherds Bush Empire & their first
ever tour of North America.
'Variations On A Dream' opens with the timid beginnings of 'We Subside' as they
slowly move into the more progressive leaning 'Vapour Trails' before the delicate
strings of 'Resident Alien' position us toward the grand finale of the 16- minute
epic 'Remember Us'.
While earlier Kscope releases were many people's introduction to the band, The
Pineapple Thief spent the previous ten years building up a dedicated fan base
across the globe, selling over 25,000 records & nurturing their 'bittersweet'
progressive sound. A sound that has recently been revisited in a beautifully
packaged 'How Did We Find Our Way - 1999 - 2005' deluxe book set.
Kscope will be presenting 'Variations On A Dream' as a single black LP.

Erste offizielle Vinyl-Neuauflage.

POP TRASH war das 10. Studioalbum der englischen New-Wave-Band DURAN DURAN. Es wurde ursprünglich am 19. Juni 2000 veröffentlicht und ist seit der Erstveröffentlichung auf CD nicht mehr zu erhalten. POP TRASH war das letzte Album der Band, auf dem das Trio Simon Le Bon, Nick Rhodes und Warren Cuccurullo. Das Album Artwork, das von Andrew Day entworfen wurde, zeigt einen mit Strasssteinen verziertes Auto, das Liberace gehörte.

On Yard, Wisconsin-bred, Chicago-based four-piece Slow Pulp nestles comfortably into pockets of nuance, impressions, contradictions-sonics and lyrics finessed together to bottle the specific tension of a feeling you"ve never quite been able to find the right words for. In that regard, listening to Slow Pulp can feel like being in a room with someone who"s known you so long that they can read your every micro-expression and pinpoint exactly how you"re feeling before you can. Perhaps this spawns from the band"s own shared history and chemistry; in various ways, the four of them grew up-are still growing up-together. The dreamy songs of the Midwest (United States) indie rock outfit draw on moody shoegaze, hooky grunge, and intimate lo-fi fare. The band made their full-length debut with Moveys in 2020. After the downcast 2021 7" Deleted Scenes, they put the focus on hooky grunge pop for singles like 2021"s "In Too Deep" and 2023"s "Cramps". After their label debut single the band toured throughout Europe and the UK earlier this year as main support for Death Cab For Cutie. The new album "Yard" is their second full-length album and first for ANTI-.

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

Named after the fictional character created by James Thurber-- popularized by Ben Stiller in 2013's The Secret Life Of Walter Mitty--Hayes has always channeled his thoughts and emotions through that character, rather than write about himself directly. "I really related to the character of Walter Mitty," says Hayes. "He's known for daydreaming too much and being lost in his head, which has been accurate to the Walter in my songs.

But really it's all just a cover up because back in those days we were still on family computers and I didn't want anybody to see songs by Dustin Hayes on iTunes." The band released a number of EPs and albums before going on something of a hiatus in 2015. But the creative itch was something Hayes couldn't stop scratching, and in 2016 he reformed the band as Walter Etc., the idea being to allow members to come and go as they please, weaving in and out
of records as life and schedules allowed.

Now, though, Walter Etc. have returned with When The Band Breaks Up Again, a new album made by the original three members with a very telling title. "The three of us got into music together via Green Day and more '90s pop-punk and skate punk stuff," explains Hayes.

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

Neurotwin is a Trilogy:

Part I
In the fight against Alzheimer's, epilepsy, schizophrenia and other diseases characterized by an imbalance in neuronal activity, there are chemical weapons, such as those that try to prevent the protein fragments known as beta-amyloid plaques from developing in the cerebral cortex , and physical, such as electrical stimulation that allow to restore the functionality of brain cells. This last resort, which has already been shown to be effective in modifying the activity of the cerebral cortex, is today a weapon of general intervention. Converting it to precision requires the development of individualized and predictive brain models that allow identifying where and how much to stimulate each patient. To achieve this, an international European team is working on the creation of virtual replicas of the most unknown organ in the body: the Neurotwin project.

According to recent research, the decrease in power in the neuronal oscillations of the gamma band of the cerebral cortex (a pattern whose frequency ranges between 20 and 50 Hertz) favors the development of protein fragments related to Alzheimer's.

Transcranial application of weak electrical currents has proven to be an effective and painless way to modulate brain activity without side effects.

The objective is to create complete computational models of the brain with real data of living beings (human patients) and that allow to anticipate and specify the effects of non-invasive stimulation techniques on neurological mechanisms.

"Never turn your back on a friend."
- Alfred Hitchcock

Part II
The Neurotwin project is the successor to an initiative that encompasses many projects called Virtual Physiological Human, which was based on the idea of creating a complete model of a human being on a computer, to perform non-invasive tests at the computational level. Now the concept has been derived to "Digital Twin", which seeks not only to have an equal computational model for everyone, but to create "twin" digital models of each patient in order to be able to make personalized medicine from the genome of each individual. Specifically, in our project, we have focused on digital twin brains, which would be representations of patient brains created from data extracted with current neuroimaging and brain activity monitoring techniques.

"Mirrors are used to see the face, Art to see the soul."
- George Bernard Shaw

Part III
A digital twin is a computer system programmed in such a way that, receiving the same inputs as the physical object or process it is a twin of, it provides the same outputs.

Characteristics of digital twin technology
1 Connectivity
2 Homogenization
3 Reprogrammable and intelligent
4 Digital traces

"There is no light without shadows and no fullness of mind without imperfections. Life requires for its realization, not perfection, but fullness. Without imperfection, there is no progress or growth."
- Carl Gustav Young

Mit dem Debütalbum „Old Time Feeling“ stellte sich 2020 die amerikanische Sängerin, Songschreiberin und Gitarristin S.G. Goodman vor. Goodman steht knietief in der Tradition des Southern Rock und verbindet ihn mit Country, Singer-Songwriter-Kultur und hier und da auch mal knackigem Rock and Roll. In ihren Texten legt die Künstlerin den Finger dahin wo es weh tut und in ihrer Musik flirtet sie des Öfteren so charmant mit Indie-Sounds, dass man sie keineswegs als konservativ oder „retro“ bezeichnen kann, auch
wenn sie musikalisch an klassische Vorbilder anknüpft. Der Rolling Stone legte sie beispielsweise allen Fans
von PJ Harvey ans Herz.

„Teeth Marks“ ist S.G. Goodmans zweites Album auf Verve Forecast, wie der Vorgänger wurde es produziert von Jim James von der Band My Morning Jacket. James über Goodman: „Ich denke, sie könnte
eine wichtige Rolle bei dem Heilungsprozess spielen, den wir unbedingt brauchen. Sie ist der lebende Beweis dafür, dass wir sein können, wer wir wollen, egal woher wir kommen.“

Sean Huber, best known as the drummer of the beloved & defunct band Modern Baseball, has been releasing music with his band Steady Hands since 2013.

Back for the first time since 2018 with new album “Cheap Fiction,” Huber pays homage to all of the deities you’d expect someone with a New Jersey birth certificate and a dog named Bruce to wor- ship, with rollicking saxophone and piano over tales of hard- on-their-luck neighborhoods, and stadium-rock-ready guitar zaps over odes to the misrepresented people of Florida.

He grapples with lapsed religion like so many with Irish names have done before him. And he fits in real nicely with the mod- ern heroes of Philadelphia’s punk scene, blending the best of heartland rock and straight-up punk with his own penchant for the tropical. Huber’s lyrics tell stories of a very real world where people in power use it for evil, the people who need help don’t get it, but the person at home makes life beautiful despite it all, and

With the label MPS, post-war musical history was written in Germany:
noble music productions with many international greats come from the
Black Forest and are timelessly legendary
Some treasures from the archive of the label are released by HGBSBlue on highquality vinyl.
The Hampton All Stars played at the first concert of the festival "VS swingt" back
then. MPS boss Brunner- Schwer was there at the mixing desk. Some of these
recordings were released in 1978 as the MPS LP "Alive and Jumping" (MPS
15469).
"Hamp" and his All Stars were really into it and brought the audience in the Black
Forest, known as rather reserved, to a frenzy, especially after the break. The old
master worked his magic on the vibraphone, of course, but also played drums
and piano and sang with an irrepressible sense of rhythm as one who had
unmistakably internalized swing. The top trumpeter Cat Anderson was another
internationally known musician in the eight-piece all-star band with which "Hamp"
toured Europe at the time. And there was someone else who was one of HGBS's
personal favorites: pianist and organist Milt Buckner. Buckner's block chords had
not only influenced Oscar Peterson and George Shearing, but also inspired the
passionate piano freak Brunner- Schwer. The live recording with Hampton's All
Stars in Villingen was the last record of Buckner, who died a few weeks later in
the USA of acute heart failure.
The musicians can be heard in exuberant joy of playing, with "Hamp" standing out
sovereignly on vibraphone and drums, as well as Buckner with soulful organ
playing. Everything sounds unspent fresh and cheerful and shows Hampton and
his fellow players in top form. This rousing swing, which should appeal not only to
jazz fans, is available exclusively on LP.
- Unreleased live recording from 1977 in Villingen, Germany
- The last recording of organist Milt Buckner
- High-end vinyl quality 180 gr. vinyl in gatefold, matt finish with embossed
printing

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

SUPERB NEW ALBUM BY STRAWBS. FEATURING DAVID
COUSINS, BLUE WEAVER AND JOHN FORD.
• RADIO COVERAGE, REVIEWS IN NATIONAL PRESS, CLASSIC
ROCK, UNCUT, MOJO, RECORD COLLECTOR AND PROG
MAGAZINES PLUS WEBSITES AND FANZINES.
Vinyl LP edition of ‘The Magic Of It All’ by Strawbs,
recorded in Cape Town and featuring David Cousins, Blue
Weaver, and John Ford from classic 1970s line up joined by
some of the finest musicians and singers in South Africa.
Strawbs were high in the charts with ‘Grave New World’ and
‘Bursting At The Seams’ 50 years ago which coincided with a pivotal
moment in the struggle for freedom in South Africa, when students
and workers launched a new wave of resistance against so-called
“resettlement”. The resistance in South Africa identified with
Strawbs songs, especially ‘Part Of The Union’, ‘Lay Down’, and
‘New World’.
Recognising this, South Africa documentary maker, Niel van
Deventer, approached David Cousins with the idea of producing a
documentary about Strawbs and the band’s influence around the
world. Niel wanted to film while new songs were being recorded in
a Cape Town studio. David Cousins came up with a bunch of his
finest songs; Blue Weaver flew over to produce the sessions and cowrite some of the material, while John Ford joined in with his
contribution to the songs from New York.
Featuring brand-new songs recorded at the Academy Of Sound
Engineering in Cape Town, with engineer Peter Pearlson worked
with Paul Simon when he was recording South African musicians for
the ‘Graceland’ album. The South African musicians on this album
include Mauritz Lotz, Schalk Joubert, Kevin Gibson, Byron
Abrahams, Simangele Mashazi, Marzia Barry and Luna Paige.
Cathryn Craig and Nicole Tee joined the singers from the UK. The
documentary The Magic Of It All will be released later this year.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

Fates Warning’s ninth studio album, “Disconnected,” contain recurring images of separation and incompleteness reflective of the album’s title. “To do something similar to earlier release would have been an easy way out,” says guitarist Jim Matheos of the set. “The best thing for me to do, and the biggest inspiration, is to say, ‘Let’s do something different now and stretch ourselves in the other direction.’ ” Disconnected,” sees Fates Warning collaborate with ex-Dream Theater keyboardist Kevin Moore, as well Armored Saint’s Joey Vera on bass and backing vocals. Vocalist Ray Alder takes a more active role in the writing process for this album. Matheos, who writes the group’s music, has served as Fates Warning’s primary lyricist for years, but on “Disconnected” Alder pens the words to two songs, including the first single, “One.” Another “Disconnected” track, “Pieces Of Me,” is the first lyrical collaboration between Alder and Matheos. Throughout the band's career, Fates Warning has always cut a clear path, remaining steadfast in their vision to create inspired progressive metal. A must have for fans!

Created In the heart of Athens, GA with their trusty- producer, Henry Barbe (Deerhunter, Drive By Truckers) You Know Who is an 11-song record that pushes the boundaries of modern country and rock n' roll music. The Pink Stones sound takes influence from recordings of George and Tammy, as well as J.J. Cale's self produced Tulsa sound. The record is also just as inspired by the windy city cuts of Curtis Mayfield, all styles that covers the band's sound in cigarette smoke and whiskey spills. The six piece band has utilized their performing chops to make a tight but soulful album with featured guests such as Nikki Lane, Jack Quiggins and Ryan Jennings (Teddy & the Rough Riders), John James Tourville (Deslondes), and Annie Leeth (Faye Webster). No strangers to friends and guests, this ramshackle unit formed together flawlessly to take the next leap into The Pink Stones deep sphere.

Following up on their acclaimed debut EP Yagana in 2022, the 5-piece band Pigeon return with a brand new offering: Backslider.

As Pigeon develop and hone their sound further, Afro-disco remains at the core while jazz and no-wave make way for new elements of electro, rock and synth pop.

With their debut Yagana EP gaining critical acclaim, each member has found themselves heavily in demand on top of their own individual pursuits – Falle Nioke is releasing his solo work as well as other projects, while Steve Pringle and Graham Godfrey play in various bands (Michael Kiwanuka and SAULT to name a few). Adding to the creative melting pot, Tom Dream pursues filmmaking and bespoke music composition via his own studio, and Josh Ludlow runs his own record label M.A.D. Records.

​​Lead single 'Backslider', a laid-back, 80s funk-rock bassline is backed by a deliberate, plodding drum kit - frontman Falle Nioke proceeds to sing in English and French - calling someone a 'backslider', for their dishonesty and bad behaviour.

Track 'Ikanabore', is a fast-paced, Afro-disco workout primed for the dancefloor, driven by a catchy chorus, guitar hooks, a heavy rollicking kick drum and plenty of modulated synth - highlighting the band's ability to effortlessly cross between tempos and genres.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

A kaleidoscope of harmony vocals - as Crosby, Stills and Nash might have sounded with a funky back beat. Delicate acoustic fingerpicking, warmed by a swell of brass before a drama of electric unfolds. Guitar band music, delivered with the sensibilities of someone who knows how to make you dance. Sun-kissed blue-eyed soul, reminiscent of Ned Doheny, but emanating from a beach far from California.

These are the sounds of Jim, as heard on debut album 'Love Makes Magic'.

Debuting in 2021 on the folk-informed 'Falling That You Know' EP, Jim is the latest alias of songwriter, multi-instrumentalist and renowned DJ Jim Baron. Famed as co-founder and musical director of festival-stunning favourites Crazy P, his latest Jim project is a musical journey unlike anything he has done before.

"If you’ve ever wondered what Catharsis covering The 13th Floor Elevators might sound like, wonder no longer—and that’s only the start!" - Decibel Magazine GELD make their Relapse Records debut with their third full length, Currency // Castration! The Australian band distills a despairingly hellish vision of the world into a thundering crack to the temple through an unsparing fusion of hardcore’s bleakest violence with metal’s ruthless strength-through-conviction. GELD's abrasive take on the genre is distorted through a lense of fuzzed out psych soundscapes; vocals truly sound like unhinged barks, while guitars, bass, and drums crash against one another frenetically, each track burning brighter and brighter. Every moment of Currency // Castration is urgent. Tracks such as “Chained to a Gate” edge and scratch at a relief that is ultimately denied, toying with the nightmarish promise of a breakdown that never comes. Elsewhere, "Cut You Down" pulses with frantically itching riffs that stream forth. "Fog of War" snaps and snarls; while "Secret Prison" evinces the honed physique of Japanese hardcore fed through the broken brain of someone on a years-long Rrröööaaarrr-era Voivod spin-out. Despite the band's innovative approach to the genre, GELD makes no pretensions at being “interesting” for interesting’s sake - As vocalist Al Smith puts it, “One of the most boring things people can do is try to dress up what someone else has already contributed to a genre and make it ‘clever’… We’re more interested in finding our own position.” With Currency // Castration, GELD offers no promise of a higher purpose or resolve. Rather, they lean into dissociation, finding truth and meaning in the transcendental joy of simply escaping, surviving, existing.

Originally released in 1996, Come's third album 'Near Life Experience' was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock'n'roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks 'Prize', 'Strike', 'Hurricane II' stemming from the same era, additional liner notes and photographs. After Come's seminal 1994 release 'Don't Ask Don't Tell', bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA. The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone she had had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title. "Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly. "Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet." All Music. Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, 'Near Life Experience' is Come's most cinematic, diverse and accessible album.

Im November 2021 startete De Staat sein Projekt „red yellow blue“. Nach mehr als 1,5 Jahren wird das Projekt im Juni 2023 seinen Höhepunkt erreichen und in voller Länge veröffentlichen. Dazu gehören Songs wie: “Who’s Gonna Be The GOAT?” (yellow), “Look At Me” (red) und “Running Backwards Into The Future” (blue).

Während der Pandemie gab es mehr Ruhe und Raum, um gemeinsam an neuen Songs zu arbeiten. Während des Entstehungsprozesses bemerkten De Staat verschiedene Stile in ihren Demos wieder - alle mit dem erkennbaren, eigenen Sound. Nachdem die ersten Songs fertig waren, wurden sie der Einfachheit halber in Primärfarben unterteilt. Diese drei Farben stehen für Gemütszustände: Rot für die dunkle Seite, Gelb für unbeschwerte, tanzbare Songs und Blau für Melancholie. Zusammen bilden sie das gesamte Spektrum
dessen ab, was De Staat im Moment ausmacht. Sobald sie das erkannt hatten, konnten sie die Grenzen innerhalb dieses Rahmen erweitern.

Während Torre schon immer den Großteil der Musik geschrieben hat, war die Band mehr als früher am Schreiben neuer Songs beteiligt. So entstanden Stücke, die sonst nicht geschrieben worden wären. Andrew Scheps ist der Mischtechniker dieser Songs. Er erhielt Grammy-Auszeichnungen für seine Arbeit an Red Hot Chili Peppers „Stadium Arcadium“, „21“ von Adele und „Fly Rasta“ von Ziggy Marley.

"prog stalwarts deliver the goods" KKKK Kerrang!
"an album of Muse-like, slow burning guitar anthems" Rock Sound
"TPT take the baton of Pink Floyd & run with it, with the same dream- like atmosphere on the cusp of a nightmare." TERRORIZER
"the sound of a band reaching the height of their powers" Classic Rock "a high- class, mature, up to date & consistently melancholic album in between Porcupine Tree & Muse...warm, popular, contrived" Metal Hammer (DE).

The Pineapple Thief are one of the leading lights of Europe's experimental rock domain, led by post-progressive mastermind Bruce Soord, the band have built an incredibly loyal fanbase over the past 23- years through extensive touring & consistently lauded recordings. Founder Bruce Soord started The Pineapple Thief as an outlet for his music back in 1999 & has since released over 15 studio albums.

'All The Wars' saw frontman Bruce Soord mature as a songwriter & grow in confidence, allowing him the use of a 22- piece string section & a choir. Soord explains, "no expense has been spared regarding the production of this record but at its heart it's still a rock record. It's very heavy in parts & very delicate & beautiful in others." Following Storm Thorgerson's cover for 'Someone Here Is Missing', the
artwork for this album features images created by the award- winning
photographer Mark Mawson as part of his 'Aqueous' series, which was projected onto Buckingham Palace as the background to Paul McCartney's performance of 'Magical Mystery Tour' during the diamond jubilee celebrations.

Kscope are now proud to present a newly remastered LP edition of 'All The Wars'

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

This Armour Gomez is something. From Vietnam to work 5 years in a coal mine to going underground in Las Vegas to found his own band The Accent, then up to New York to play his wildcard in the main business (to no success, as many other great artists like him), then back to Vegas and hit the road for many years as a musician. Now well in his seventies, threee marriages later (and two divorces, remembers me of someone I know very well), the man's still playing everywhere day in day out.

DRAIN – the Santa Cruz, CA based hardcore band, whose energetic live shows have propelled them to peak underground popularity (during a global pandemic) and they are ready to break wide open in 2023.

Living Proof is the band’s Epitaph Records debut and follow up to their 2020 breakout release, California Cursed.
The new album is a testament to the hard work and heartfelt ethos that’s at the center of DRAIN’s good-time psyche. There are a couple surprises on the album. Rapper Shakewell appears on the track, “Intermission”.
There’s also a cover of “Good, Good Things,” a nearly four-decade old melodic punk carol by the Descendents: slam-pit forebearers to DRAIN if there ever were any. “It’s crazy because the song’s been out like forty years, but lyrically it’s a DRAIN song!” exclaims vocalist
Sam Ciaramitaro.
“It just hits on everything that I love, that I’m about.”
What Sammy’s about is plenty wholesome. “I hope with this record that when someone hears it, it gives them hope,” beams. “If we were able to get through the tough times, anyone can. I can’t wait to play these songs and hear a room full of people singing back to us. We’re what the title says, the Living Proof.”

Produced by longtime friend and multi-instrumentalist Taylor Young (God’s Hate, Suicide Silence), then mixed by John Markson (Drug Church, Koyo), this is hardcore for everybody.
“As the band gets bigger, I try and keep that feeling alive,” says the smiling singer. “Every night I set up the merch and run it until it’s time to play. I want to be the guy that everyone says hello to. I want to thank every single kid that comes out for being there.”

Tommy Emmanuel ist ein australischer Gitarrist, Schlagzeuger, Bassist und Songwriter. Er wurde bisher zweimal für den Grammy nominiert und gilt als einer der weltbesten Vertreter des sogenannten Fingerstyle, einer speziellen Spieltechnik insbesondere für akustische
Gitarre.
Tommy Emmanuels Duett-Album "Accomplice Two" bietet eine erstaunliche Vielfalt an Künstlern und Stilen. Es gibt Songs mit den Rocklegenden Michael McDonald, Jorma Kaukonen und Little Feat; lassen Sie sich von Bluegrass-Superstars wie Billy Strings, Molly Tuttle, The Del McCoury Band, Sam Bush, Jerry Douglas, Sierra Hull
und David Grisman überraschen. Außerdem sind die Country-Ikonen Nitty Gritty Dirt Band, Jamey Johnson und Raul Malo sowie die Gitarren-Schwergewichte Yasmin Williams, Larry Campbell und Richard Smith mit dabei.