Suche:the plan

Camelot, the legendary seat of King Arthur's court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word "Camelot" accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of "utopia." In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson's 1974 film Lancelot du Lac and the absurdist iteration of Monty Python's 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys's profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy's White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle's extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle's Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one's own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. "Back in Camelot," she sings on the lilting, vulnerable title track, "I really learned a lot / circles in the crops and / sky-high geometry." The album opens with a candid admission of sleeping "in the unfinished basement," an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above "sirens and desert deities." If she questions her own agency_whether she is "wishing stones were standing" or just "pissing in the wind"_it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of "multi-felt dimensions" both mystical and quotidian. The epic scale and transport of "Camelot," with its swooning strings, gives way dramatically to "Some Friends," an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises_"bright and beaming verses" versus hot curses_which recalls her minimalist last album, 2020's achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory "Earthsong," bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to _ a wounded lover? a wounded saint? our wounded planet?) Those whom "Trust" accuses of treacherous oaths spit through "gilded and golden tooth"_cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry_sow uncertainty that can infect the artist, as in "Louis": "What's that dance / and can it be done? What's that song / and can it be sung?" Answering affirmatively are "Lucky #8," an irrepressible ode to dancing as a bulwark against the "tidal pools of pain" and the "theory of collapse," and "Full Moon in Leo," which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and "big hair." But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle's confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on "Lucky #8," special guest Cass McCombs). Reprising his decennial role on Castle's beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia's FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad "Blowing Kisses"_Pallett's crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX's The Bear_Jennifer contemplates time and presence, love and prayer_and how songwriting and poetry both manifest and limit all four dimensions: "No words to fumble with / I'm not a beggar to language any longer." Such rare moments of speechlessness_"I'm so fucking honoured," she bluntly proclaims_suggest a state "only a god could come up with." (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world_including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth_but also in our interpretations of and interventions in it: the "charts and diagrams" of "Lucky #8," a daydreamt billboard on Fairfax Ave. in LA in "Full Moon in Leo," the bloody invocations of the organ-stained "Mary Miracle," and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with "Fractal Canyon"'s repeated, exalted insistence that she's "not alone here." But where is here? The word "utopia" itself constitutes a pun, indicating in its ambiguous first syllable both the Greek "eutopia," or "good-place"_the facet most remembered today_and "outopia," or "no-place," a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, "Everyone knows this is nowhere." "Can you see how I'd be tempted," Castle asks out of nowhere, held in the mystery, "to pretend I'm not alone and let the memory bend?"

. For Fans Of: The Weather Station, Weyes Blood, Adrianne Lenker, Phoebe Bridgers, Joan Shelley, Lana Del Rey, Cass McCombs, Angel Olsen & Neil Young. Camelot, the legendary seat of King Arthur’s court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word “Camelot” accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of “utopia.” In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson’s 1974 film Lancelot du Lac and the absurdist iteration of Monty Python’s 1975 Holy Grail, both of which feature armoured knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys’s profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy’s White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle’s extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. “Back in Camelot,” she sings on the lilting, vulnerable title track, “I really learned a lot / circles in the crops and / sky-high geometry.” The album opens with a candid admission of sleeping “in the unfinished basement,” an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above “sirens and desert deities.” If she questions her own agency whether she is “wishing stones were standing” or just “pissing in the wind” it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of “multi-felt dimensions” both mystical and quotidian. The epic scale and transport of “Camelot,” with its swooning strings, gives way dramatically to “Some Friends,” an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises—“bright and beaming verses” versus hot curses which recalls her minimalist last album, 2020’s achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory “Earthsong,” bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to … a wounded lover? a wounded saint? our wounded planet?). Those whom “Trust” accuses of treacherous oaths spit through “gilded and golden tooth” cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry sow uncertainty that can infect the artist, as in “Louis”: “What’s that dance / and can it be done? What’s that song / and can it be sung?” Answering affirmatively are “Lucky #8,” an irrepressible ode to dancing as a bulwark against the “tidal pools of pain” and the “theory of collapse,” and “Full Moon in Leo,” which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and “big hair.” But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle’s confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on “Lucky #8,” special guest Cass McCombs). Reprising his decennial role on Castle’s beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia’s FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad “Blowing Kisses” Pallett’s crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX’s The Bear Jennifer contemplates time and presence, love and prayer and how songwriting and poetry both manifest and limit all four dimensions: “No words to fumble with / I’m not a beggar to language any longer.” Such rare moments of speechlessness “I’m so fucking honoured,” she bluntly proclaims suggest a state “only a god could come up with.” (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth but also in our interpretations of and interventions in it: the “charts and diagrams” of “Lucky #8,” a daydreamt billboard on Fairfax Ave. in LA in “Full Moon in Leo,” the bloody invocations of the organ-stained “Mary Miracle,” and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with “Fractal Canyon”s repeated, exalted insistence that she’s “not alone here.” But where is here? The word “utopia” itself constitutes a pun, indicating in its ambiguous first syllable both the Greek “eutopia,” or “good-place” the facet most remembered today and “outopia,” or “no-place,” a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

RADIAL
Acoustic Rhythm & Texture Sequencer
Available as C60 Limited Edition of 50 mirror dubs- (same on both sides) + Inserts

written and produced by
S.Gordon 2024.

additional percussion by Islay Spalding - TRK 7, recorded at SFS studios 2024

Synths & Radial - SDGordon.

The Radial instrument was designed to explore various material's acoustic characteristics in ways that could only be achieved through mechanical and electronic control.

It creates sporadic dense percussive sequences & sharp reciprocating sweeps or can focus in on tiny acute angles to produce deep shaking drones among a host of other planned and unplanned acoustic sounds.

Radial uses 5 voltage controlled motors and interchangeable textured cylinders captured via contact microphones positioned within the chassis. The cylinders can be synchronised or independent & the blades are interchangeable allowing the flex of certain materials to skew and augment the movements and sounds and sequences.

Playing the Radial instrument is a direct visceral experience. Its sequences sound unlike anything else i have used and the simple design by no means limits the scope of its rhythmical output. After feeling out the controls you arrive somewhere in-between the rubbery juddering fuzz or clockwork blasts of percussion and can step back allowing the physicality of the instrument itself to dictate how things proceed. Minor adjustments can have a butterfly effect on the entire tone inmate rewardingly unpredictable but controllable way.

On certain tracks there’s some synth work in a move away from the potential “instrument study” vibe of the release and Islay Spaldings blistering scrap metal percussion on Track 7 was incredible to watch.. Additional thanks to Stephan P Richter “SPR” for the advice and encouragement through the whole build.

Back in stock! As hip-hop’s online footprint began rapidly expanding in the early 2010s, acclaimed Los Angeles emcee Blu was a rising star who commanded attention. Just a few years removed from the breakthrough success of Below The Heavens and an appearance on the XXL Freshmen list, the talented wordsmith was navigating the major label system, dropping self-produced mixtapes, and working with artists like The Roots, Miguel, Flying Lotus, 9th Wonder, and more. In 2011, the mysterious album Jesus turned up on Bandcamp, uploaded by an artist calling himself “b.” Soon discovered to be the latest project from Blu, the unpolished but deeply soulful collection quickly made waves on blogs and social media. Just weeks later, Jesus improbably became one of Blu’s first official solo releases, and it remains a lo-fi masterpiece, with mesmerizing production by Alchemist, Madlib, Knxwledge, Hezekiah, and Blu himself. Now, this classic is receiving a long-overdue vinyl reissue, complete with the Jesus-era bonus track “Arrow & The Sparrow” featuring Jimetta Rose.

Rund zwei Jahre nahm Brenk sich Zeit, an "Midnite Ride III" zu feilen und die richtigen Soundbilder für seine musikalische Vision zu finden. Dabei legte er viel Wert auf verspielte Details und einen zeitlosen Sound, der sowohl den Late Night Vibe der ersten beiden Vorgänger fortsetzt als auch Brenks aktuellen Mindset in puncto Soundästhetik widerspiegelt. Auf "Midnite Ride III" fusionieren analoge Synthesizer aus Brenks berüchtigter Vintage-Sammlung mit perfekt platzierten Voice-Samples, die zur Trademark des Midnite Ride Sounds gehören. Als einer der Urväter der Phonk-Bewegung reichert Brenk seine Beats auch diesmal mit der richtigen Dosis aus Phonk-Elementen an und kreiert aus alten und neuen musikalischen Einflüssen ein weiteres Mal einen moody Soundcocktail, der ab der ersten Sekunde in seinen Bann zieht.
Begleitend zum Album-Release wird eine Dokumentation erscheinen, die die Entstehung und die Hintergründe von Brenk Sinatras Midnite Ride Universums beleuchten wird.

From Karma Recordings comes their seventh EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound. The legend that is DJ Aphrodite, one of the biggest producers on the planet brings his unique blend of drum n bass and bassy riffs to the awesome title track Kung Fu Pt II by DJ Ande. DJ KOS brings in a chopped up belter with Oblivion and we are very excited to introduce another new signing in Acid 88 to the label with the dark and moody track The Loon.

Blue / Black splatter vinyl 2024 Repress

* Unless you have been living under a rock, XXXTENTACION is a name that needs no introduction. A true artist who was tragically slain earlier this year - XXXTENTACION left an indelible mark on culture and music in his all too brief 20 years on this planet. His catalog will go on to live forever, and he left one final piece of music for the world with SKINS. The album comes in at a short, but sweet 10 tracks with songs that delve into XXXTENTACION's deep and complex mind, and soul. With the lead single, BAD! Garnering 52M + streams in under a week, and merch drop that sold out in minutes, it is evident that XXXTENTACION's fanbase is ready for SKINS.

The third edition of our 2xLP Suntrip Classix series is now available! We chose the name Gaia for this one. And as usual, it has a reason. The front picture is made on earth (or Gaia). And its not just earth, it is the beach of ZNA festival. On this soil we celebrated the music and our life so deeply. We are lucky beings to live on such a wonderful planet so the Gaia artwork is a tribute to our mother earth!

The photography was made by Simeon Van Der Hoeven and the people on the cover are all volunteer on the festival itself! :) And the music? Well, the name Suntrip Classix says exactly where this is all about. 8
of our most acclaimed, wanted and loved tracks, finally available on vinyl :)

Repress with alternate label-art (again!!). UK based Emile Facey joins the frustrada familia bringing a heavy, ice cold and highly emotive 3 track EP. Much in the vein of E.R.P. and the likes, but with a sharper sounding more abstract approach. Highly recommended!

Repress on transparent magenta / black vinyl:

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

Exactly 15 years ago, the two goats Goatfreed and Goatleeb Udder landed on Earth from the distant planet of planet GoatEborg to honor us with hard sounds. Some extraterrestrial acts have already tried to gain a foothold on earth, always with the intention of world domination, but only the prominent pair of brothers have been able to do so so far. With their last two studio albums, the band made it into the official the official German album charts - with their groovy sound somewhere between death metal and grindcore. The debut album "Back From The Goats" was released on CD & Digital on 30.10.2009. Now, for the 15th anniversary of the record, the album will be released on vinyl for the first time.

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most
striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality
breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up
throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track
like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily
living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

Razorlight were at the forefront of the indie-rock resurgence of the early 2000s, their biggest moments - ‘Golden Touch’, ‘Somewhere Else’, ‘In The Morning’, ‘America’ and ‘Wire To Wire’ - driving three Top 5 albums, nine Platinum album certifications, an NME Award, and live highlights including headlining the Reading Festival and performing at Live 8. After reuniting for live shows in 2021, the classic line-up - Johnny Borrell (vocals/guitar), Björn Ågren (guitar), Carl Dalemo (bass) and Andy Burrows (drums) - will release the new album ‘Planet Nowhere’ on October 25th, their first together since 2008. Razorlight preview the set by sharing its first single, ‘Scared Of Nothing’. Since reuniting, Razorlight have sold-out a headline tour which included a London show at the Eventim Apollo, and played shows as guests to Muse, Kaiser Chiefs and James. But as the ever ambitious Johnny challenged himself, “Who wants to be a greatest hits band?” So he hatched a plan, and late in 2023 booked a five-day session with the legendary producer Youth (The Verve, James) at his Space Mountain studio in Spain. Youth knew what they had to achieve, telling the band, “Razorlight’s quite simple isn’t it? Just a driving bassline, driving drums and a story.” For whatever reason, things weren’t that simple. After four days they had a stack of ideas, but nothing really worth pursuing. And then, as Johnny recalls, something remarkable emerged from out of nowhere. “I’d been down in the barranca, and came back up to find the studio empty. So I picked up this weird six-string bass/guitar hybrid I'd never seen before and wrote this thing. On our last night, I started playing it with the guys. The drums came in hard, the bass pounded. It sounded like shit. Absolute shit. But Youth was there, saying 'Can, Velvets, see where it takes you’ and 'Why don’t you try it like that?' But still, the track just wouldn't budge, locked in its own inertia. Youth says, 'You're getting there, just one more' and almost instantly the song came out, from nothing to something, like a statue coming up out of marble.” That song was ‘Scared of Nothing’ and listening back to the finished track, it’s easy to see why it resparked Razorlight’s mojo. Exuding taut, spiky post-punk energy in a way that’s instantly infectious - the very traits that attracted highfalutin praise from NME back when they started out (“More tunes than Franz, more spirit than The Strokes, and more balls than nearly every band out there”). And as ever, Johnny demonstrates the swaggering, high-intensity charisma that took him from being a figurehead of the Camden scene to rise to become a Vogue cover star. It was also the track which unlocked Razorlight’s creativity, leading the band to return to Spain with Youth for a second session earlier this year, during which they crafted an extensive catalogue of songs for the upcoming album. Other titles vying for inclusion include ‘Zombie Love’, ‘U Can Call Me’, ‘Dirty Luck’ and ‘Cool People’. Since returning, Razorlight have also looked back on their initial achievements, first releasing ‘Razorwhat? The Best of Razorlight’ (complete with the new song ‘You Are Entering The Human Heart’) and then last month issuing the 20th Anniversary Deluxe Edition of their breakthrough debut album ‘Up All Night’. Never a dull moment. Writing a new ending for themselves, Razorlight are back to cast out the boring in your life.

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – Yearbook 1981. NOW – Yearbook 1981; a celebration of the eclectic and creative brilliance of the year in pop. 4 CDs of 85 tracks that defined the charts in 1981. Available on a 4CD special edition which is housed in ‘hard-back book’ packaging, including a 28-page booklet with a summary of the year, a track-by-track guide, a quiz, and original singles artwork, and as a standard 4-CD package. A limited edition 3LP set pressed in translucent red vinyl, limited to 3,000 units and a 4CD set

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

REISSUE of Sun And Sail Club sophomore album. The name might be the Sun and Sail club, but you'll find no yacht rock here. Instead of Michael McDonald, we have Bad Brains. Kenny Loggins? Hall and Oats? More like Matt Pike and Lemmy Fucking Kilmister. "The Great White Dope" is featuring members of Kyuss, Fu Manchu, and the Adolescents, containing 10 riff-filled tracks of high energy, bullshit-free punk and sleaze. The song writing on 'The Great White Dope' steers away from the experimental direction of their previous release, and it's laser focused on one thing: unapologetically rocking your face off. The vocoder is gone and they've recruited singer Tony Adolescent, who delivers balls to the wall vocals with no added effects or frills. The production, like the music itself, is loud, heavy, and beautifully simple. "This record is a direct result of my wife telling me she was pregnant with our son. As a first time father, panic set in and I wrote the album in two hours. I wasn't sure if I'd have a lot of time once he was born so I crammed as many frantic riffs into one album as possible. Looking back it's funny to listen to now, but at the time I was on a mission. Everyone killed it on this record and we recruited Tony Adolescent on vocals which is unreal to me." - Bob Balch

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.

With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.

Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.

Geplant war es von Omega damals logischer Weise nicht, die eigene Karriere in Genre-Phasen einzuteilen. So etwas machen später Musikjournalisten und Fans - und unter ihnen besonders die Statistiker. Nach deren Lesart gilt die zweite Hälfte der Siebziger als Space-Rock-Ära der ungarischen Band. Abgebildet wird sie durch die Trilogie "Time Robber" (1976), "Skyrover" (1978) und schließlich "Gammapolis" (1979). Zwar waren sphärische Klänge bereits davor und auch danach noch im Schaffen des Budapester Quintetts zu vernehmen, derart konzeptionell fokussiert zeigten sich Omega jedoch tatsächlich nur auf diesem Triple. Nimmt man die Erfolgs-LP "Time Robber" weiterhin als Qualitätsmaßstab, hielt auch "Gammapolis" mühelos mit. Die Kompositionen der Gruppe um Sänger Jànos Kòbor waren melancholischer geworden, die bittersüßen Melodien schmeichelten. Das galt besonders für den siebenminütigen Opener "Dawn In The City" ("Hajnal a város felett"), dem Titelsong "Gammapolis" und "Silver Rain" ("Ezüst esö"). Zwischen der westeuropäischen, englischsprachigen Version und dem ungarischen "Original" gibt es neben dem Gesang und der Sprache in der Titelreihenfolge und bei der Songlänge einige kleine Unterschiede. Minimal ließen Omega die instrumentalen Passagen einiger Stücke auf der Muttersprachenvariante länger fließen. Für die westeuropäischen Omega-Platten-Käufer jedoch hatten diese feinen Unterschiede keine Relevanz, kannten sie meist die ungarischen Songs gar nicht. Ebenso wenig dürften sie registriert haben, dass GAMMAPOLIS in Omegas Heimat mit fast einer dreiviertel Million Einheiten die am besten verkaufte LP der Band-Karriere wurde. Das deutsche Cover-Artwork wich jedoch von der ungarischen Version erheblich ab: Zeigte die Bacillus/Bellaphon-Variante die Silhouetten der Musiker vor einem von Flak-Scheinwerfern durchschnittenen Nachthimmel, war auf dem Pepita-Album offenbar die zwar futuristische, allerdings auch karge Welt auf einem fremden Planeten zu sehen.

Pedro Bertho, following the positive reception of his debut
album Mêlé, which features notable tracks like "Tigueretá"
and "Jour 4"—both frequently highlighted in Boiler Rooms
and sets around—has launched his own label, Chez Pedro.
Dedicated to consistently releasing new music, the label
plans to unveil monthly tracks, showcasing Bertho's ongoing
creative drive and deep passion for music without
distinctions of genre. His latest offering, Starlit Craves,
compiles tracks curated over the past two years. Previously
unreleased, these tunes have been meticulously crafted for
the dance ­oor. Each track on this EP re­ects Pedro Bertho's
distinct style and artistic vision, guiding listeners through an
immersive and exhilarating musical journey. Let Me Tell You:
Infused with electro vibes and in­uenced by Detroit’s rich
musical legacy, this track blends intricate rhythms with
soulful melodies, delivering a captivating sonic experience.
Blue Hot Monday: A hypnotic techno odyssey where
pulsating beats merge with deep bass grooves, creating an
enveloping atmosphere that lingers long after the music
ends. Shaved: A dynamic fusion of house and techno,
pulsing with rhythmic intensity and layered textures, inviting
listeners on a groove-driven exploration. Rouya: Radiant
melodies and hypnotic rhythms transport listeners to a sunlit
realm, intertwining uplifting harmonies with intricate sonic
nuances seamlessly. Have You Ever Played in Abidjan:
Exploring percussive intricacies and dub-infused textures,
this track offers a captivating blend of rhythmic diversity andatmospheric depth, evoking vivid imagery and immersive
storytelling.

Anthony"s post-Slapp Happy output, for years an underrated-to-outright unknown quantity, achieves a new dimensional plane with this third archival release from his personal tape library. Home of the Demo triangulates upon the art-pop qualities found in his previously unreleased 1976 LP OUT, and "79"s new wave-adjacent Flying Doesn"t Help, finding Anthony"s early/mid-80s home recordings drifting whimsically in and out of the actual mainstream.

This album features Hermano's first song in nearly 20 years, as well as an unreleased song from their last album. 'When The Moon Was High' is completed by 4 live songs culled from the HellFest and W2 festivals.

Motherland is an electrified open letter to our dying planet. Having released a past solo EP in 2019, Motherland remains Lia"s first full-length offering. A longform listen of both heartbreak and help and healing. Seeing debilitation in its many forms and making art amidst the continued struggle. Her heavy lyrical content swirls through synth flutters and hard-hitting drums, making for a captivating contrast. Dystopian and dreamy. Ambient layers and atmospheric backdrops with piano ballads, downtempo electronica, and drum and bass. The influences of James Blake and Frou Frou ooze through these tracks. Think Låpsley, FKA Twigs, Kllo, Caroline Polachek.

Jazz Is Dead geht in die dritte Phase von Veröffentlichungen mit erstklassigen Aufnahmen, die den Hörer auf eine Reise durch die funkigen Klänge Ghanas bis hin zum psychedelischen Soul und Samba Brasiliens mitnehmen. Von den Labelgründern Adrian Younge und Ali Shaheed Muhammad produziert, enthält Jazz Is Dead 021 neue analoge Aufnahmen der lebenden Legenden Ebo Taylor, Hyldon, Dom Salvador, Antonio Carlos e Jocafi, Carlos Dafé, und Joyce e Tutty Moreno.

Amsterdam's resident by choice, Torky Tork's Seed Tape Vol.1 is a reminiscences to his love for growing plants. Having created his own personal "music for plants" project, to keep flora and fauna entertained and triggering the blooming process.
Simultaneously to the album, Torky's own OK KUSH weed-strain will be introduced to the world. The lush & laid-back stimulating sounds and baselines are beneficial for the plants and the listeners cortex equally.
Torky's sound - even across various projects can be described with the broad spectrum of influences. The restless Berlin native has never stuck to one formula. His urge for ever new input is reflected by the constant change in the centre of his life - for some years now, he has been constantly traveling back and forth between his Berlin Bunker studio and Amsterdam, his home of choice. So the influence of weed has naturally been around him for a while, yet inspiring him to dive into the album TWO BE OK.
The illustrious line-up of musical guests on the album contains Germany’s most in-demand producers, the self-taught bedroom beatmaker FloFilz, Berlin’s bunker studio affiliate S. Fidelity, wine aficionado Dexter (also mastering engineer of the album), Wandl and more. This is the perfect soundtrack for watering your favourite plants while watching them grow.

Fangen wir ganz von vorne an. Der Bandname: Er taucht auf im Werk der Beatles, von Cockney Rebel, Townes Van Zandt, Monty Python. Womit er auch einen ersten Hinweis auf die Musik liefert. Die Band: Vier Freunde, davon drei Musiker, 13 Alben im CV. Die Idee: Old school is the new modern. Pfeif auf Innovation. Pfeif auf Kunst. Konzentrier dich auf das, was du selbst am liebsten hörst. "Echte" Songs, mit Strophe, Refrain, zuweilen Mittelteil und wenn's passt auch mal Tonartwechsel. Melodiös, ohne seicht zu werden. Mitreißend, ohne aus der Kurve getragen zu werden. Deep, ohne kitschig zu werden. Oder, gottbewahre, esoterisch. Das Album: Alles wie immer, nur anders. Gitarren, Bass, Schlagzeug, plus hörbar mehr Keyboards/Synthesizers/Soundscapes. 12 Songs, die sich praktisch allen Facetten dieses Lebens widmen. Liebe, Körper, Kätzchen, Clubs, Theater, Astronomie, Wohnkonzepte, Mode, Müdigkeit, Müllentsorgung. Und, nicht zu vergessen, the way to the bathroom. Aufgenommen in Stuttgart, Hamburg, Karlsruhe, Paks/Ungarn und Uppsala/Schweden. Between Planets eben. And there you are.

Medusa Outdoor's first double-vinyl album consisting of 2 vinyls and 12 quality techno-tracks selected with passion by Medusa Outdoor residents Michael Forzza and Jochen Robberecht.
It's a limited and hand-numbered gatefold double vinyl-album with tracks from Blawan, Planetary Assault Systems, Spiros Kaloumenos, Roberto and many others. Michael Forzza and Jochen Robberecht both dedicated one new track exclusively for this vinyl-album.

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.

The Sound Of Hardstyle präsentiert die neue Serie: The Anthems Vol.1. Eine nostalgische Zeitreise mit einigen der besten Hardstyle-Hymnen, die die Szene je hervorgebracht hat. Mit Acts wie Brennan Heart, Technoboy, Wildstylez, Headhunterz und Noisecontrollers und Hymnen wie Power Of The Mind und CTRL.ALT.DELETE darf dieses Vinyl in keiner Hardstyle-Sammlung fehlen!
Zusätzlich zu den goldenen Hymnen bietet The Sound Of Hardstyle ein mit viel Liebe zum Detail gefertigtes Produkt mit geprägtem Logo und hochwertigem Sticker auf der Vorderseite.