Buscar:son of a son

On his third voyage as Skyway Man, artist + producer James Wallace is still seeking answers beyond the stars and still coming back with more questions in the form of ten brilliant songs. On its surface, 'Flight of the Long Distance Healer' registers as another concept album replete with aliens and alternative philosophy, but this time around, Wallace coats the glass with a vital layer of self-reflection. Like a West Coast Dr. John—but more preoccupied with flying saucers than voodoo dolls—Skyway Man is in the business of opening new aural worlds, cracking open reality just enough to get the message through. 'Flight of the Long Distance Healer' sparkles and blinks, whispers and moans—hugely enjoyable music rendered in imaginative and gleaming style. There are hints of the polyrhythmic cinematic sensibility from Wallace’s contributions to the Joe Pera television series, rhythms of the Stax-inspired Spacebomb house band, and ripples of the current East Bay scene outside San Francisco. In a real showcase for the extended Skyway Man family, Wallace has coaxed personal and masterful performances from the likes of Erin Rae, Vetiver’s Andy Cabic, pedal steel wizard Spencer Cullum, Kelly McFarling, and more. Cooking up genres in such a way as to keep their nutrients intact; he packs prog, blues, glam rock, acid folk, swamp boogie, and future folk into a beautiful Martian bouillon.

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

Off World presents the final album in its trilogy of surreal and spacious leftfield electronics. "A stellar project headed by Sandro Perri, one of the most singular producers in contemporary music" (Boomkat), this third volume is another distinctive collection of tracks constructed from semi-improvised ensemble recordings made over the past decade with a varied cast of coconspirators. Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features first-time Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World "genuinely explorative_the musical equivalent of a Dali-esque landscape" which through all sorts of genre-defying twists and turns, at times evokes "offkilter, late Miles Davis ambience". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri "cultivates his own genreless brand of futurism." Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. "Impulse Controller" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. "Ludic Loop" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. "Empasse" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of Perri's politico-aesthetic mission, as aptly celebrated by Pitchfork and its glowing 8.0+ reviews of Perri's 2018/2019 solo albums In Another Life and Soft Landing (released between Off World 2 and the present volume): a uniquely purposeful, subtly detailed cannon of songs "busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere."

Roe Kapara"s debut vinyl release on Epitaph Record brings the songs from his wildly successful 2023 digital release, i hope hell isn"t real ep, together with his catalog of singles from 2021- 2022. "Nobody was born cool" proclaims . "Where"s the fun in that?" After relocating from Nashville to Los Angeles just before the pandemic, the St. Louis-born singer/songwriter did what any reasonable 20-something would: find solace online and build a community. Soon, his burgeoning digital fanbase hit six digits, enthralled by his endearingly unpretentious personality but also by his irresistible music, a modern swirl of indie, psych, dream pop, and alternative. Dwelling on the death of his own past is a common theme through "s music, throughout a catalog of DIY singles like "Everyone"s Dying" and "Past Grow" that helped boost his streaming listeners into the 2 Millions and TikTok audience over 350,000 (with 5.8 Million likes.) But just as he"s willing to expose vulnerable parts of himself in his songs, he"s quick to shine the mirror outward to address the creeping dread of modern life: consumerism, corporate greed, climate change, the general feelings of the younger generation in 21st-century America. Combining these two sides of his musical personality - deeply relatable yet unafraid to stand up and ask life"s big questions - into pop songs makes for a musical journey that"s a little off-kilter, sure, but all the better and more interesting in the end.

Ruthie Foster’s ninth studio album represents a new high water mark for the veteran blues artist—a collection of songs possessing pure power, like a tidal wave of musical generosity.

Healing Time finds Foster pushing her boundaries as a singer and songwriter more than ever before, creating a truly live-sounding atmosphere with the help of her band, who sound refreshingly loose and lived-in throughout these 12 songs.

Joining Foster and her band: members of Austin psych-soul outfit Black Pumas. “They gave these songs a breath of fresh air,” she says about their contributions—and veteran producer Mark Howard (Willie Nelson, Lucinda Williams) also came in to bring new ideas to Foster’s table.

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.

Anlässlich seines 40-jährigen Künstlerjubiläums wollte Howard eine wirklich einzigartige Werkschau zusammenstellen. "Celebrate It Together" ist die erste Anthologie, die sich mit seinem gesamten Katalog auseinandersetzt, von der Originalversion von "New Song" bis hin zu einem 2023-er Elephant Talk-Remix, der den Song in einen modernen Electronica-Kontext stellt.

Diese "Very Best Of 1983- 2023 - Celebrate It Together" enthält Songs aus seinem klassischen Katalog der Warner Music-Ära, sowie von seinem unabhängigen Dtox-Label.

Other Half’s debut album, Big Twenty, is 14 songs of caustic post-hardcore exploring the unpleasant places people go to—and the nastiness they are capable of—in search of identity, community and belonging. The recurring characters that inhabit Big Twenty navigate changing social scenes and trends as they near the end of their twenties, teasing themselves with the past and spiralling in an unhealthy cycle of going out and coming down. The album’s narrative is semi-fictitious, reimagining first-hand experiences watching friends lose themselves to nostalgia, drugs and depression, whilst simultaneously celebrating the warmth of belonging, wherever it is found. Meeting in 2012 through a love of the UK DIY scene and their time split between previous outfits—including Maths, Ducking Punches and Manbearpig—Cal Hudson (guitar, vocals), Alfie Adams (drums) and Sophie Porter (bass, vocals) began writing songs together in Adams’ basement bedroom. From the indie rock cynicism of Archers of Loaf and Arab Strap, to the dischord and energy of bands like Hot Snakes and Unwound, the band have spent the past few years weaving their individual influences together and now deal in a confident, unique brand of scathing storytelling and abrasive punk.

Today we announce The Vinyl Collection, Vol. 2, an 11-LP boxset to follow 2021’s Vol. 1, which includes the remainder of Billy’s catalogue: Glass Houses, The Nylon Curtain, An Innocent Man, The Bridge, Storm Front, River of Dreams. It exclusively features Fantasies & Delusions & Live from Long Island on vinyl for the first time. The boxset includes a 60+ page booklet that highlights the era through photos, quotes, and an essay by Rob Tannenbaum. All albums remastered from original sources at Sterling Sound.

"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.

Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.

In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.

If there’s anything that defines SUDS, it’s friendship. Meeting through their love of the DIY scene currently emerging in Norwich, the band quickly found themselves gravitating towards writing songs together, and by Autumn 2021, Jack Ames (drums/vocals) joined Maisie Cater (vocals/guitar) and Dan Godfrey (guitar/vocals) to form a line-up that felt inherently natural. Stepping in on bass duties came Harry Mitchell, and things seemed to click instantaneously. Driven to keep the spark going they all upped sticks from their far flung edges of the county, pooled together to get a touring van and set to work. Just like their 2022 debut EP, In The Undergrowth, SUDS ventured down to Kent to record with producer Ian Sadler (Roam, Anavae), ready to explore the next chapter of their story. Step forth debut album The Great Overgrowth, a record brimming with addictive melodies and gorgeous moments of optimism. Their evocative and sometimes literary approach to lyrics takes inspiration from midwest emo and the 1960s Greenwich Village folk scene - Cater and Ames would regularly distract themselves while writing, gazing between the pages of books by Woody Guthrie, Allen Ginsberg, Bob Dylan and Brontez Purnell - which appears across their songwriting and would quickly become the foundation for their sound. Finding a delicate balance of sensitive lyricism dripping in warmth and killer guitar hooks, The Great Overgrowth follows on from the EP, telling the next part of the tale, as a tight knit group of twenty-something year old friends struggling and floating through life, to becoming more confident in their everyday lives and friendships while embracing change. The band are already off to a flying start, conquering sets at 2000 Trees Festival, The Great Escape and Truck Festival, as well as sold out shows with Spanish Love Songs, Pool Kids and Martha. Their talent for achingly intelligent, relatable lyricism and a heft for devil-may-care creative output already puts them heads above the rest. SUDS might be fresh faced but have the maturity and drive to become one of the most exciting emerging artists of 2023.

"The Twits" wurde von der Band im Februar 2023 innerhalb von nur acht Wochen in einem provisorischen Heimstudio auf Mallorca aufgenommen und von Marta Salogni abgemischt. Nach einem Kinderbuch von Roald Dahl benannt, zeigt sich das Songwriting von bar italia in rauen, mystischen, ungebürsteten und gelegentlich düsteren Arrangements. Songs wie "my little tony" mit seinen harten Riffs und dem kathartischen Sound ist ein klassischer Indie-Banger für die große Bühne. In anderen Momenten wagt sich die Band auf bisher unbekanntes Terrain, auf dem sie eine hypnotische Dissonanz ihrer Stimmen schaffen. "Jelsy" zum Beispiel spielt sich wie ein Gespräch zwischen Freunden über wehmütigen, summenden Country-Blues ab, wobei die Stimmen abwechselnd tröstlich, ironisch und hoffnungslos sehnsüchtig sind. Der geschmeidige, langsam brennende Walzer "Twist" besticht durch seine nackte Lyrik und scheint jedes Bandmitglied zu einem individuellen Bekenntnis einzuladen. Während "Tracey Denim" von seinen kompakten 2-3-minütigen Songs lebte, besticht "The Twits" durch seine eher offenen und mitunter uferlosen Kompositionen. "glory-hunter" nimmt z.b. spielerische Wendungen, bevor es an einem völlig anderen Ort endet, als es begonnen hat. Das abschließende "bibs" ist ein seltener Fall, in dem alle drei im Einklang zu hören sind. Eine Prozession geradezu geisterhafter Akkorde mit einer zerreißenden Rückkopplung bildet den Abschluss des Albums. Das im Mai veröffentlichte Matador-Debüt "Tracey Denim" von bar italia wurde schnell zum Gesprächsthema der weltweiten Indieszene. Publikationen wie The Guardian ("eines der Alben des Jahres 2023 bisher"), The Times ("excellent debut album"), The Observer ("Artist To Watch"), NME ("a lasting impression that"s all of their own making"), The Quietus ("endlessly evocative") und Pigeons And Planes ("quickly establishing themselves as one of the most enticing upcoming bands") feierten das Album. Im Juni gaben bar italia ihr Live-Debüt in den USA mit fünf ausverkauften Konzerten in New York sowie vier in Los Angeles und auch ihre Debüt-Show in Berlin war binnen kürzester Zeit ausverkauft. Über einen der New Yorker Auftritte schrieb Brooklyn Vegan: "Live spielt die Band ganz natürlich und großartig auf, mit Songs wie "Punkt", "Changer" und "Nurse!" (...), die Post-Punk der frühen 80er mit Indie-Rock der 90er und einem Hauch Trip-Hop mischen".

Here's the thing about ill peach: this band exists because they are too weird to not exist. The seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that: "Everyone kept saying, 'The stuff that you're writing is slightly too left-of-center-weirdo stuff," remembers Morrissey. "Why don't you start your own project?" Thus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: "Do you want to pick up a guitar and do you want to be on this water jug and we'll record it on the iPhone and create some weird drum pattern?" Following a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art's 15th anniversary series, and some colorful music videos that crystallized the band's visual aesthetic along with their sound, ill peach's "weirdo stuff" comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach's intense live shows. If ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. The end of the world turned out to be what ill peach needed to get real with themselves. "It helped us creatively to zone in and removed us from the industry side of things to where we could just be like: this is our new identity, let's jump with both feet." THIS IS NOT AN EXIT's title is a reflection of something Corazza realized during a period of personal and familial crises "I kept walking into buildings and I'd try to exit somewhere and the sign would be like, 'This is not an exit,'" she says. "It just felt like a metaphor for a hopeful thing-don't give up yet." This combination of hope and anxiety is all over THIS IS NOT AN EXIT, reflected in a sonic palette (Alternative! Electronica! Indie! Radio pop! Coldplay!) as eclectic as it is unpretentious. Ultimately, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on THIS IS NOT AN EXIT.

"The Vinyl Collection, Volume 2" vereint Billy Joels monumental erfolgreiche Alben aus dem späteren Teil seiner Karriere: "Glass Houses" (1980), "The Nylon Curtain" (1982), "An Innocent Man" (1983), "The Bridge" (1986) und "Storm Front" (1989), "River of Dreams" (1993). Außerdem gibt es 2 Titel zum ersten Mal auf Vinyl: die Doppel-LP "Fantasies & Delusions" und die 3er-LP "Live from Long Island" aus dem Jahr 1982. Alle Songs stammen von den Original-Album-Mastern, Zudem ist ein über 60-seitiges Booklet mit Billys persönlichen Anmerkungen und einem Essay von Rob Tannenbaum enthalten

Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, Drop Nineteens disbanded. They had a great run. Shared stages with Radiohead, Hole, Blur, PJ Harvey. Went from being teenaged kids in Boston to mid twenty somethings with an MTV video under their belt. So when Drop Nineteens ceased to be, Greg Ackell felt content, music was a closed chapter. That was until 2021. For the first time in nearly 30 years, Ackell felt compelled to pick up a guitar. He immediately called up Steve Zimmeran, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says. "But also the question came up: what does a Drop Nineteens song sound like today? Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light, was of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell's primarily the lyrics writer, and he collaborates with Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country. Making music together felt natural, fluid, exciting. The guitar reverb is expansive as ever. Ackell and Kelley's vocals are crystalline. "Scapa Flow," is triumphant. An excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide like clouds on a blue sky day, drums shuffle in the background, searching. Ackell and Kelley's vocals are cool toned and dreamy, bound up in a haze of reverb. It's unquestionably lovely. You could say the same for the whole of the record. Hard Light is so lovely. A portrait of a band 30 years later, as talented and as dedicated to their craft as ever.

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
Order IMF012 now

Yes the Bristol born artist returns on EOP. This release themed four tracks, deep and spaced out. A unique record from an artist soaring to ever greater heights.

LP Black Vinyl 12 inch 180g.

Katie Meluas Debütalbum "Call Off The Search" machte sie sofort zu einem außergewöhnlichen neuen Talent. Das Album, welches dieses Jahr sein 20-jähriges Jubiläum feiert, zeigt ihren einzigartigen Gesangsstil, der Jazz-, Blues- und Folk-Einflüsse mit zeitgenössischer Pop-Sensibilität vermischt. Das Album wurde von Mike Batt mitgeschrieben und produziert, der eine zentrale Rolle bei der Entwicklung des prächtigen und anspruchsvollen Klangs des Albums spielte. Das zentrale Thema von "Call Off The Search" ist die Liebe und die Selbstfindung, ausgedrückt durch eine Sammlung von gefühlvollen und introspektiven Songs, darunter die Leadsingle "The Closest Thing to Crazy", die mit ihrer gefühlvollen Performance und der fesselnden Melodie das Publikum weltweit sofort in ihren Bann zog. Von Kritikern und Zuhörern wurde das Album für seinen reifen und gefühlvollen Sound gelobt, vor allem wenn man bedenkt, dass Katie Melua zum Zeitpunkt der Veröffentlichung erst 19 Jahre alt war. Call Off The Search" fand bei einem breiten Publikum Anklang, wurde ein kommerzieller Erfolg und zu einem der meistverkauften Alben des Jahres 2003.

Diese Neuauflage zum 20-jährigen Jubiläum wurde in den Metropolis Studios in London neu gemastert und enthält B-Seiten sowie sieben bisher unveröffentlichte und unverfälschte Demos, die Katie und Mike Batt 2002 aufgenommen haben. Die von Pete Paphides verfassten Liner Notes enthalten Beiträge aus einem neuen Interview mit Katie.

Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.

The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.

Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.

"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.

The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.

Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.

The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!

Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.

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

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

New York-based label Kindergarten Records is thrilled to unveil Ayesha’s debut album, ‘Rhythm is Memory’ – 10 boundary-pushing tracks, a shape-shifting percussive journey with electric moments.
While intended for maximum dancefloor impact, Ayesha’s first LP is also conceptually thought-provoking and playful, exploring how bodies store and channel creative knowledge.

A self-taught producer, Ayesha relies on her instincts to make music: sensing what her body wants to feel and hear. To her, essential to building a groove is channeling what is already inside us –
memories – whether they are based on lived experience or coded in the body: culturally, ancestrally, or intergenerationally. The result is this Indian-American producer’s distinct rhythmic voice, with its
many configurations boldly expressed across her debut album.

Kindergarten first released Ayesha’s material in 2020 with her ‘Natural Phenomena’ EP, a four-track journey which she described as “an undulating love letter to nature and the dancefloor, a space
where her biophilia collides with her yearning for the dancefloor.” Subsequently, she continued to build upon her luminous, scintillating sound with a contribution to ‘Fluo II’ titled “Aspara Dub”, followed
by “Varanasi” and “Downpour” on ‘Ether’, a split release with Sha Ru in 2021. With each release, Ayesha's sound evolved, adding shades, layers, and perpetual rhythmic nuance to a mind palace of
dancefloor possibilities.

That is why her and Kindergarten are a perfect match -- driven by their mutual fascination with exploratory sonics and a shared commitment to the community that inspires them. Kindergarten
Records has shaped itself into a trailblazing label, uniting a diverse and innovative collective of local and international producers, while embodying a strong familial atmosphere.This debut LP represents
a significant step-up for both the artist and the imprint, as they strive harmoniously towards a shared goal: delivering a sonic experience full of colorful, otherworldly bass-fueled expansion.

‘Rhythm is Memory’ captures Ayesha’s signature love for driving techno and organic percussion, while at moments veering into newer electro territory while keeping it psychedelic, spacious, dubby, and
always playful. This feels intuitively right for a producer at a crossroads in her career. All tracks intricately weave together pulsing drum grooves, slinky synths, nuanced melodies, and delightfully
unexpected twists. No single genre can do justice to describing this project as Ayesha delicately nods to many, reveling in the spaces between.

Undoubtedly, across A and B sides, 'Rhythm is Memory' imparts the joy of sonic experimentation to listeners and dancers. Ayesha invites us into her creative process and its steady evolution – rooted in
many days and nights of exploration, reflection, and repetition. "The ritual practice of cultivating and tending a garden is what comes to mind if I were to visualize this record. Beautiful things can emerge
from care and consistent attention," says Ayesha. While she refers to her specific experience making 'Rhythm is Memory,' this powerful album culminates a decade of working in nightlife for Ayesha – a
project slated to leave an indelible mark on the underground. To mark this impressive milestone in their catalog, Kindergarten Records is proud to return to pressing vinyl after a hiatus since 2020,
recognizing the significance of putting out a physical release to behold such a moment in both the label's and the artist's trajectory.

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own
skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just
to be accepted, but that comes from a place of fear and judgment. I wrote these songs as
a way of letting go of all that, as permission to feel good.” Feel Good, Wyatt’s extraordinary
new album, is more than just a permission slip, though: it’s an invitation. Recorded with
Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating
grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and
intuitive here, tapping into the deep recesses of her subconscious as she reckons with
grief and growth, and her delivery is visceral to match, cutting straight to the bone with
equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical
act of creative liberation from an artist already known for pushing limits, a genre-defying
work of healing and self-love that tips its cap to everything from Al Green and Otis
Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and
pleasure.

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

Australian rock band Tonight Alive burst onto the scene in 2008 as teenagers, blending power pop and rock, quickly finding success with their debut album, ‘What Are You Scared Of?’, and becoming a crowd favourite at festivals like the Vans Warped Tour and Bamboozle.  ‘Underworld’ is the band’s final and most organic album yet, a raw and real insight to a band reconnecting with their authentic selves.  One of the songs that emerged from the sessions is ‘Temple’, the song that launched the new era of the band and one written when lead vocalist Jenna McDougall was experiencing severe depression and fatigue - the lyrics penned when she was totally entrapped in being sick in her mind, body and soul. The rawness of the song became an anthem at BBC Radio 1 (debuting as the Rockest Record Of The Week).  The album takes the listener on an emotional journey of the underworld we all have within us, dissecting our internal darkness and discovering peace. Songs like ‘Disappear’ featuring guest vocals from Lynn Gunn (PVRIS) and ‘My Underworld’, a stirring duet with Corey Taylor (Slipknot / Stone Sour) showcase the diversity of the band’s sound and triumphantly scream to the world that Tonight Alive will always live on.  For fans of PVRIS, All Time Low, You Me At Six, Pierce The Veil, Paramore.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

GREEN AND WHITE MARBLE VINYL.

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Denovali presents Spark and Earth, the ninth full length album from NYC-based composer and performer Mario Diaz de Leon. Celebrated for his electroacoustic chamber music, Spark and Earth is the first of Diaz de Leon’s solo albums to foreground his performance as a metal guitarist, alongside a vividly textured electronic ensemble of terse synth stabs, woodwind and vocal timbres, floor rattling synth bass, and propulsive kick drums. Songs such as Cruces, Templo, Kepha, and Elemental evoke rave-metal anthems, foregrounding a vibrant alchemy of thrash guitars with percussive synths. Aqua, Breath of God, and Carnelian seamlessly weave lead and chiming guitar lines with meticulously charted electronics and hammered dulcimer timbres. Carnelian charts the alluring flow of a single melodic line through the instruments of the ensemble, while the haunting analog synth interplay of Mirror Spirit recalls the vivid electroacoustic works of previous releases. Over nine songs and 30 minutes, Spark and Earth is an alchemical journey through Diaz de Leon’s electronic chamber metal.

Since 2009, Diaz de Leon has released four recordings of his collaborations with chamber ensembles (International Contemporary Ensemble, Talea, TAK), while from 2012-2016 he produced three solo electronic albums under the project name Oneirogen. With the two-song album Heart Thread (2022), he began releasing electronic works under his own name. His music has been celebrated over the last decade for its “hallucinatory intensity” (NEW YORK TIMES), “snarling exuberance” (PITCHFORK), and “remarkable textures and vivid atmosphere” (NEW YORKER MAGAZINE). As collaborator, he is guitarist and vocalist in the extreme metal duo Luminous Vault (Profound Lore Records), and performs synth and drum machine in Bloodmist, an electroacoustic improvisation trio with Jeremiah Cymerman and Toby Driver. In 2023, he collaborated with Eartheater and members of Krallice in a performance of songs from her album Trinity. Since 2019, he has taught at Stevens Institute of Technology as Assistant Professor of Music and Technology.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

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.

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Shrouded in darkness for over a decade, ever since the disturbing events that lead to the band's inception, B R I Q U E V I L L E have been bewitchingaudiences with a hypnotizing dirge that evokes the heaviest elements of doom metal and post-rock before mixing them with eerie field recordings, found sounds and haunting traditional instrumentation. On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E will unveil `IV' - their latest exploration into the darkest depths of the soul. The Belgian collective's pulsating, repetitive rhythms and penetrating, guttural guitar work return alongside a more prominent vocal presence with ethereal melodies and brooding lyricism further exploring the deeper, richer sonic palette first heard on 2020's `Quelle.' Drawing from members of different local scenes, B R I Q U E V I L L E first assembled with the ambition of improvising around a single, droned note. Having latched onto something raw and powerful, the band suddenly found themselves confronted by a stranger telling tales of a hatred years in the making. Floored by such a fateful meeting, B R I Q U E V I L L E have anonymised themselves behind sweeping black robes and occult golden masks ever since; unifying the collective as one sound, a singular faceless force hellbent on converting audiences around the world. With `IV' however, B R I Q U E V I L L E are beginning to lift the veil. Alongside the aural despair that the band have been handcrafting ever since their eponymous debut full-length in 2014, `IV' is imbued with an intriguing duplicity. Within the mournful melancholy and grinding, icy orchestration is the faintest glimmer of hope as the collective explores the idea of creativity free from the confinement of morals, expectations and time. `IV' sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band's fearsome outbursts of unrivalled heaviness in a new, intoxicating transformation of their formidable sound. DO be careful though, B R I Q U E V I L L E may be stepping out of the shadows, but they can easily drag us back. FFO Sleep, Bong, ISIS, Pelican, Mogwai, Sunn O))), Godspeed You! Black Emperor, Amenra Ltd Single Coloured XX Edition Vinyl, sleeve w/ gold foil embossing!

It’s been a little over ten years since Hailu Mergia re- emerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the

New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival.

Finally, we have a recorded document of the keyboard player’s powerful DC-based trio—which practices each weekend in his basement—featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA’s expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities.

Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like “Tizita” or “Anchihoye Lene”) upside down and inside out until they emerge as molten new works, often spontaneously. Mergia’s original compositions (like “Yegle Nesh”) shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments—often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age.

Pioneer Works Swing (Live) brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents.

Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he’s been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Action Pact were a punk rock band from Stanwell, an isolated village right under the flight-path of London Heathrow Airport, inspiring this album title-song.àFormed in 1981 by guitarist Wild Planet, bassist & lyricist Dr. Phibes, and the then 15-year-olds drummer Joe Fungus and singer George Cheex, still school-kids when their Heathrow Touchdown EP was released in October 1981. BBC Radio 1 DJ John Peel played the single many times and booked them for their first session, recorded February 1982.àSigned to Jungle's Fall Out Records imprint, Action Pact"s label debut Suicide Bag EP went to the top of the British punk chart in July 1982.àFive more singles entered the indie charts including Yet Another Dole Queue Song, and a reworked London Bouncers, along with two albums, 'Mercury Theatre - On The Air' and 'Survival of the Fattest'.àA second John Peel session in '82 and a David Jensen BBC session in '83 were also recorded and broadcast - all collected together here for the first time.

The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced

Released in 1976, Eternity was Alice Coltrane's first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane's music in the '70s would become increasingly difficult to categorize.

Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity – incorporating various musical styles, including a stirring adaptation of Igor Stravinsky's The Rite of Spring – and the results are dazzling, both in sonic scope and emotional range

Opener "Spiritual Eternal" sways between Alice's exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, "Wisdom Eye," precedes the rollicking rhythms of "Los Caballos," which showcases some of her finest soloing.

"Om Supreme" is the album's first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram.

While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.