Search:united records

Rival Schools's Found is a collection of rarities, demos and alternate takes of songs collected in the years following the release of their 2001 debut United By Fate. Initially released over ten years ago, the band has teamed up with Run For Cover Records for a limited reissue to release alongside the reissue of their 2011 album Pedals. Found features eleven songs that show the range of sounds the band tinkered with in the ten years between these albums - it's a must have for any fan of the band, available again on limited colour vinyl.

PIFF Records welcome 4 in - demand artists to the label on their latest release, also available as a limited 500 press vinyl release. Home to forward-thinking house, trance, and techno, PIFF Records boasts a diverse yet united musical output. Cosmic, dub - driven techno, atmospheric house beats, and everything in between coalesces under the imprint’s distinctive output of thoughtful, club - ready sounds. All aspects of PIFF Records come together on this release as the featured artists balance the cerebral and visceral in their productions.

Cybernet kicks off the release with Resonant Shifter. Pumping kicks lay the foundation for captivating synth arpeggios and warped call and response basses in this ‘90s - inspired cut of contemporary progressive trance. The perfect soundtrack for any location from sunset on the Ibiza seafront to sunrise as the shutters open at a warehouse rave.

Goa elements are out in full force on Hoe Down, courtesy of Glen S. Squelchy 303s, low textures, and metallic arpeggios resonate above a pulsating bassline and weighty kicks, relentlessly pushing forward and ascending to a new sonic dimension - taking you along for the ride.
Body Clinic substitutes the progressive trance for progressive house on Love X, bringing down the tempo but keeping intensity intact. An infectious, syncopated plucked bassline dances around groove - rich drums, psychedelic effects and leads indebted to early ‘90s releases. A masterful blend of the past, present, and future together on one track.

Closing the EP with Empty Clip, Tom Jarmey disrupts the 4x4 rhythms of the preceding tracks w ith a genre - bending cut of electro - infused breaks. Two-step drums are matched with clinical sound design, deep basses, and mystical arpeggios. Sure to add depth to any set and turn heads in the process.

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.

To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.

erste Vinylveröffentlichung eines Metalklassikers der 2000er
Jahre
-remasterte Doppel LP im Gatefold mit 4-Seiten-Booklet
-enthält eine Manilla Road Coverversion und weitere rare
Bonustracks
-einige Mitglieder spielten später bei u.a. Manilla Road,
Savage Grace und Trance
Aus den Überresten des True Metal-Projektes SEDUCTION,
welches von einem Management initiiert wurde, entstand
2004 eine richtige Band: VIRON. Im Gegensatz zu SEDUCTION
klangen VIRON direkt erwachsener und bodenständiger.
Einflüsse des US-Metal und der NWOBHM mischten sich mit
Europäischem Metal, was 2004 durchaus etwas Besonderes
für eine deutsche Gruppe war. Der traditionelle Heavy Metal
kam nach Grunge, Crossover und Gothic langsam wieder auf
die Füße und VIRON waren bei dieser Entwicklung früh dabei.
Die erste, von der Band veröffentlichte EP, die auch schon
den Namen NWOGHM (New Wave Of German Heavy Metal)
trug, schlug im Underground ein wie eine Bombe und man
spielte noch ohne Plattenvertrag einige Shows, u.a. beim
Headbangers Open Air in der Nähe von Hamburg. Das rief
die Labels auf den Plan und man entschied sich 2006 für die
griechische Firma Sonic Age (aka. Cult Metal Classics). Die EP
wurde um weitere Songs, die im gleichen Studio (Kohlekeller
Studio) aufgenommen wurden, aufgestockt und zum Album.
Nach durchweg traumhaften Albumreviews folgten Auftritte
beim Sworbrothers Festival, United Metalheads und mit Bands
wie Sabaton, Custard oder Solemnity.
VIRON wechselten 2007 zu Metal Heaven Records und
veröffentlichten 2008 den erfolgreichen Nachfolger „Ferrum
Gravis“. Der damalige Slogan „Underground Metal für die
Massen“ passt wie die Faust aufs Auge, denn das druckvoll
aber natürlich produzierte Album schlägt den Spagat zwischen
der Undergroundszene und, nennen wir es „gängigem Heavy
Metal“. Insider würden vielleicht sagen „zwischen LaudaKönigshofen und Wacken“. Das zeigt auch die gekonnte
Coverversion des Manilla Road Klassikers „Dreams Of
Eschaton“. Leider zerfielen Viron einige Monate nach dem
Release von Ferrum Gravis, aber die Band wurde zu einem
Sprungbrett für drei Mitglieder von Viron, die später u.a. bei
Manilla Road, Trance, Savage Grace, Roxxcalibur, Bonfire und
Jameson Raid auftauchten.

Big Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.
Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.
What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla & The Carlettes, The United Souls, Sharon Seabrook & The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?
It is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

"Mountain Music is Nina Nesbitt as fans have never heard her before. Having risen to fame at a young age with her disarming, candid pop – the Scottish musician is now found in an entirely new realm. It is inspired in part by the two years she spent touring the States in support of her second studio album: the critically acclaimed Top 40, The Sun Will Come Up, The Seasons Will Change, which has now accrued over a billion streams. These songs are permeated with gorgeous nods to US folk and Americana. It’s made all the more extraordinary by the face that, not long ago, Nesbitt was considering quitting music altogether. Produced by Peter Miles and Nesbitt, mixed and mastered by Miles at his stunning studio MiddleFarm in south Devon, and released via her own label, Apple Tree Records. A playful nod to her 2012 debut EP, TheApple Tree, this marks the start of an exciting new era for Nina Nesbitt. While it might sound strange that Nesbitt was drawn to the music of Appalachia, heard echoing through the vast, verdant mountain ranges of the eastern United States, it makes more sense when you consider how traditional Scottish ballads and hymns are threads in that rich tapestry.

Empathy is one of Nesbitt’s greatest strengths. We hear it on “Painkiller”, a Joni Mitchell-indebted ballad on which her heart breaks for the men who believe they have to suppress their own feelings. One of the album’s standout qualities is, perhaps, the dynamic that Nesbitt creates from one song to the next. Where many folk artists might lean into quiet introspection, she craves the full spectrum of emotion – so ensconced around “Painkiller” you have the tender “On the Run’, with its distant shivers of percussion and crystalline piano, but also “Anger”. She’s in a nostalgic mood on the rousing “Coming Home”, a Springsteen-inspired, driving-with-the-top-down journey back to the places and people she loves. We all lose ourselves sometimes. The trick is learning how to find our way back, pushing those clouds away to see the blue skies beyond. For artist Nina Nesbitt, hard-hitting truths and revelations take precedent on her remarkable, career-best album, Mountain Music. Nesbitt knows exactly who she is, and now, she’s ready to tell the world."

Phantastic Ferniture, the delightfully lightheaded project of Julia
Jacklin, Elizabeth Hughes, Ryan K Brennan and Tom Stephens,
release their self-titled debut album via Transgressive Records.
The mission is obvious: don't overthink it. These artists' shared
want to shake the shackles of their meticulously crafted solo
work to experience a second, giddy adolescence is evident in
the garage-pop perfection introduced today.
I'd gone straight into folk music,' says Jacklin, 'so every
experience I'd had on stage was playing sad music with a
guitar in my hand. I thought, I would love to know what it's like
to make people feel good and dance.'
Phantastic Ferniture's spiritual home may be the garage but
they were born in a bar, specifically the hallowed basement of
Frankie's Pizza in Sydney. One late night in 2014, on Jacklin's
birthday, a group hug manifested amid the pinball machines,
with all ten participants vowing to form a band. 'Only four of us
remembered the next day,' notes Hughes.
United by fern puns and a love of leisurewear, the band met up
whenever schedules would allow, writing songs and playing
smatterings of dates to an increasingly devoted audience.
Eventually it was decreed that this was no side project and an
album should follow. The result is one of the most enjoyable
albums of 2018. 'It feels really good,' Jacklin says with
satisfaction. 'It's like having an alter ego.'
A slice of defiant brilliance that feels effortless in its
execution.' - London In Stereo
LP pressed on pink vinyl with digital download code.
Press - Reviews in Clash, DIY, Q , Loud & Quiet, The Skinny. Radio - 6Music Lauren Laverne Track Of The Day
Online - DIY, Too Many Blogs, Most Radicalist, Giglist, London In
Stereo, Loud and Quiet, The Skinny, God Is In The TV Zine.

For the past two decades, Dr Roman Belavkin (Solar X) has been deeply involved in AI research and mathematics at British universities. His albums from the 1990s are a testament to an era defined by the early internet-bulletin boards, FTP sites and mailing lists. In keeping with this, Solar X's music sounds surprisingly futuristic, a romantic artifact of a time eagerly anticipating tomorrow.

Following the re-issue of Solar-X's "Xrated" in 2019, GALAXIID is releasing his debut "Outre X Mer". All tracks are from the original DAT tapes and have been remastered for this release. "Pozdno Utrom", "Dileg" and "Solar X" were originally released on the "Outre X Mer EP" on Defective Records in 1995. Other tracks are out on vinyl and digital platforms for the first time.

"I was homebound for two years between 1992 and 1994, and the only way I could escape was through computer networks and writing," Belavkin recalls. Before the nasty car accident he was a member of the USSR/Russia national wushu team. Confined to his home, Belavkin started creating tracks based on ideas from his school days in the late 1980s, when he first recorded melodies on cassette tapes. This time, however, he fused those sounds with Soviet analogue synthesizers and PC sound cards. He shared these tracks via email with friends in different countries, becoming part of the "Analogue Heaven" mailing list, a community of enthusiasts united by their passion for analogue synthesis dating back to the 1960s.

During his initial pursuit of a PhD in Computer Science, Roman wanted to explore the intersection of what electronic music could offer humanity, the potential for AI to experience emotions, and whether emotions enhance or hinder intellect. These themes resonate in the music of Solar X. The album embodies ambient techno with intricate rhythms and ear caressing melodies, choppy percussion and blissful synths, making it both tranquil and danceable. Like a shimmering spaceship navigating between anxious dreams and visions, it transports the listener to a naively hopeful era yet to come.

Blue Foundation's album "Sweep Of Days" is celebrated at its 20th year anniversary with this special limited re-master vinyl print. The album remains a timeless classic, a testament to artistic innovation and creativity's enduring power. Blue Foundation, the groundbreaking Danish electronic duo, has etched its name in the annals of music history seamlessly blending elements of electronic, trip-hop, ambient, and dream pop. Their music is characterised by ethereal melodies, haunting vocals, and intricately crafted soundscapes. The fusion of electronic beats and organic instrumentation creates a captivating juxtaposition that has spellbound their audiences since 2000. Their seminal album, "Sweep Of Days" from 2004 solidified their status as pioneers in electronic music, a timeless classic that united electronic music with dream pop and trip-hop. The album swiftly earned critical acclaim for its evocative soundscapes and emotionally charged compositions, going gold in Denmark and achieving international recognition when the single “Sweep” featured in the hit movie "Miami Vice".

Over a catalog of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules.

Formed a decade ago, Native Harrow spent their first five or six years crisscrossing the United States and Canada on numerous tours, averaging more than 150 concerts per year in 47 states and 4 provinces, on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.” The critical acclaim and Americana chart success of the album prompted three back-to-back UK tours in 2019 and early 2020, ultimately leading to a three-year stint living and touring in the UK and Europe. In this time, Native Harrow released two more critically acclaimed records with Loose; Closeness (2020) and Old Kind of Magic (2022), playing for audiences ranging from rock clubs in Norway and Sweden to opera halls in Portugal, and every stop in-between, as well as performing at festivals such as BST Hyde Park (supporting the Eagles and Robert Plant & Alison Kraus), Greenman Festival, Black Deer Festival, The Great Escape, Celtic Connections, Moseley Folk Festival, SXSW, and many more.

Following the eruption of its title track, Side A of “Divided Kind” transitions nimbly through hazy tremolo-laden dusty canyons, past an intimate soulful love letter, and towards a moody anthem of devotion buoyed by propulsive grooves, before ultimately settling on a gentle bird’s-eye-view of love and transcendence. Side B opens with the debut single, “Goin’ Nowhere” a soul transmission over incendiary bass and undulating layers of guiro, congas, tambourines, shakers, and handclaps that sidesteps into moments of infinite dial-toned burnished, Rhodes-propelled soul-jazz and self-assured blues rock à gogo before ending in a spectral folk reading on celestial meditation.

“Divided Kind” was produced and recorded by the pair, in their home studio surrounded by the vintage acoustic and electric guitars, dusty semi-functional amplifiers, and out-of-date Rhodes, B3, piano, and assorted percussion they’ve grown accustomed to. Chicago-based Alex Hall was again drafted to add drums and to mix, and Philadelphia drummer and engineer Joshua Friedman mastered the record. London-based musician Joe Harvey-Whyte added the pedal steel to “Borrowing Time”, with all other voices and instruments being performed by Tuel and Harms.

Dawson’s latest offering, The Tinnitus Chorus, is an album of wide-eyed collaborations. He is joined by an inspired cast of revered friends and kindred strangers including Suso Saiz, M. Sage (Fuubutsushi), Eli Winter, K. Freund, (Trouble Books / Lemon Quartet), Dasom Baek, Lina Langendorf (Langendorf United), Vumbi Dekula, Jairus Sharif, Yutaka Hirasaka, and his bandmates in Peace Flag Ensemble. The collection is bookended by two pieces with Michael Grigoni. From birdsong and decaying tape to Western sprawl, each of Dawson’s previous solo records have moved in a singular direction but here he approaches things through a kaleidoscopic lens. While his weathered ambient sketches serve as a through line, they are woven with all manner of instrumentation from clarinet and modular synth to steel guitars and flugelhorn. Improvised Congolese guitar nuzzles next to American experimental folk. Handmade electronics give way to spiritual sax. M. Sage contributes something referred to as a “mystic music box”. The result is a strange and beautiful journey that feels lost between genres and yet wholly unified. Dawson reflects on the genesis of album with a smirk and a shrug. He has been marred by ear troubles in recent years and had been struggling to complete an album of solo material. The clicks, ringing tones, and hiss in his ears had been drowning out the ringing tones, clicks, and hiss in his studio. When he reached out to We Are Busy Bodies to provide an update on the record he was met with an unsuspecting proposal that perhaps he shift focus to an album of collaborations. The truth is he had been ruminating on the idea for years and the nudge from WABB proved to be the motivation he needed to shelve his insecurities and invite artists he admires to join him for The Tinnitus Chorus.

We present UT006, a compilation featuring six dynamic tracks, each with its own unique flavor. This
collection showcases the diverse sounds found within the electro universe.

Dark Vektor and The Bandit, united by the bass, unleash a high-energy blast brimming with
intricate sound details, power, vocoders, and versatility—all in one.

Cyberdom offers a captivating track with arpeggiated bass lines and a nostalgic 2000s vibe. His
signature style and well-crafted arrangements create a journey through sweet and subtle darkness.

Amor 307 joins the lineup with an aggressive track featuring thick, looped sounds and strident acid
elements, revealing his techno influences.

Spectrums Data Forces delivers a high-end track that defies conventional electro norms. If not for
its broken rhythm, it could be described as a storm of quality techno with intense melodies.

The Belgian Dark Prophet contributes a 4x4 hit designed to ignite any dance floor, blending a
touch of classic electro that resonates with our audience.

Promising/Youngster has once again proven his mastery. This track exudes pure quality,
demonstrating that simplicity can be the ultimate form of beauty, and a sample can evoke powerful
memorie

Formed in 2007, The Boxmasters have recorded an impressive and diverse catalogue of music that touches on their love of a wide array of influences, but most importantly, the rock and roll of the 1960’s. Love & Hate In Desperate Places is their 17th album and the ten songs evince a wry perspective on human nature and love. The lively melodic rock cloaks the wry wit of the lyrics. The album was produced by The Boxmasters, Billy Bob Thornton and J.D. Andrew, who also wrote every song. Listening to The Boxmasters, one can hear obvious odes to the Beatles, Byrds and Beach Boys, but also important to The Boxmasters are The Mothers of Invention, Kris Kristofferson, John Prine and Big Star. Since forming The Boxmasters, several long-time friends have contributed to the sound of the band, but the core of The Boxmasters has always been Andrew and Thornton. As primary songwriters, the sound of the Boxmasters has been an evolution as the duo constantly strive to find new inspiration, new sounds and new ways of expressing what is in their hearts and on their minds. But at the core, there is a backbeat, a lyric with meaning and music played with emotion. As a touring band, The Boxmasters have cultivated a rabid cult fanbase across the United States and Canada. Opening for the likes of ZZ Top, Steve Miller, George Thorogood and Kid Rock The Boxmasters have proven to win over large audiences. As a headliner, frequent stops in Kansas City at “Knuckleheads”, Springfield, Illinois at “Boondocks” and “Merrimack Hall” in Huntsville, Alabama have shown dedicated yet still growing audiences. Two appearances at Levon Helm’s “Midnight Ramble” in Woodstock, New York were highlight performances for the band, as well as the “Ramble at The Ryman” that Levon hosted in 2008. The Boxmasters performed on “The Grand Ole Opry” in 2015, another in a growing resume of must-play venues.

Hear the brutal anguish and aural suffering! LG Records has gathered out-of-print and unreleased recordings by two of San Diego’s more infamous and obscure punk bands from the very early 1990’s onto one blistering split LP. Often remembered merely as side-projects of Heroin and End of the Line, Sloog (aka Slug) and Brain Tourniquet were standalone outfits that were beloved locally but barely made any impact outside of the local San Diego scene. Sloog were heavy, tortuous, and disturbing. Fronted by mysterious and odiferous local character “Justinman”, Sloog sounded like they could have been the lovechild of Savage Republic and United Mutation. Brain Tourniquet were a younger thrash band who were noticeably inspired by contemporaries like Born Against and Crossed Out. Primitive and sublime, members went on to bigger things, but this was the not-so-humble beginning. The first release for each band was the 1991 Slug/Brain Tourniquet split cassette, released as Gravity Records #0. Copies of this tape were sold at local shows and during Brain Tourniquet’s west coast tour with Heroin. Sloog would record multiple demos in 1990 and 1991, and in the end they recorded what became their only vinyl release, 1992’s Pigs 7”. The material on this LP was pulled together from all of these recordings. Punish yourself with the Slug / Brain Tourniquet / Sloog vinyl LP out now on LG Records. Caution: this record may emit visible stink-lines into the air of your household. Open a window while enjoying the soothing sounds of Slow Death, circa 1991. 180-gram black vinyl only, 500 pressed, 28 pt tip-on jackets with printed inner sleeve.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and shortly after returning with the first ever vinyl release to attend to James Tenney’s legendary “Postal Pieces”, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled “Vocal Trio”, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration - issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score - it’s a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today.

Ben Vida first emerged during the mid 1990s within a loose constellation of experimental musicians, centred around a performance series of improvised workshops at the Myopic Bookstore in Chicago, alongside Jim O'Rourke, Kevin Drumm, Chad Taylor, and the other future members of Town and Country - Jim Dorling, Joshua Abrams, and Liz Payne - the band within which he would gain widespread recognition over the following years. Like many other members of that scene, Vida remains a restless product of a fleeting context - Chicago during the 1990s and early 2000s - continuously undermining concrete notions of idiom and signifier within a practice that witnessed him rendering bristling abstractions within Pillow, glacial melodies with Town and Country, the art-rock mayhem of Bird Show Band, and the angular, driving indie rock of Joan of Arc, before becoming immersed in a practice of systems based synthesis, beginning in the 2010s, that guided much of his first decade of output as a solo performer and composer.

As early as 2013, he began to incorporate acoustic sound sources - specifically the human voice - into his work. It was this shift, evolving and refining itself over the last decade, that underscores radically the leap in his practice represented by “Vocal Trio”, a work that encounters Vida composing for the human voice with the ideas that allow for synthesis - transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm - without using a synthesiser.

During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers - Amy Gernux and Lotte Rudhart - who were also singers, the idea for the piece - to utilising the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualising each person’s mouth as a filter to sculpt the timbre and resonance of a given tone - began to take shape in his mind. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text - what became the score for “Vocal Trio” - accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible.

At the core of the pulsing vocal drones - intoxicating, harmonically rich long-tones - that make up the duration abstraction of “Vocal Trio”, is Vida’s regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control. The piece’s rehearsals were simply the three performers hanging out, allowing their knowing each other and natural dynamics to contribute to its form as the score, before recording during a single afternoon at the end of a number of days sharing company and space.

Creatively visionary and groundbreaking on numerous terms, as well as being intoxicatingly beautiful and remarkably listenable, Ben Vida’s “Vocal Trio” represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Issued by Blume in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score, this is hands down one of the most important contemporary records we’re likely to encounter in 2024.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Transparent yellow with black and red splatter, limited to 700 copies. SUMMONING THE LICH return this summer with the latest installment in their fantasy universe of technical death metal. The St. Louis, Missouri band's forthcoming second album, Under the Reviled Throne, is set for release via Prosthetic Records on July 26. Following the events of their established world of Arrias on their debut album, United In Chaos, Under the Reviled Throne sees the next chapter of the Lich come to life through tales of isolationist kingdoms, malevolent mages, witch queens and cannibalistic armies hellbent on destruction. After three years of extensive US touring and shows with the likes of Allageon, Gorod and Inferi among others, as well as headline stints, SUMMONING THE LICH set about bringing Under the Reviled Throne to life. Intended as a death metal equivalent of sorts to The Empire Strikes Back in scope, the group set their sights on raising the stakes in both story and songwriting. Recorded throughout 2023 at Sicktones Studio with Jack Daniels, SUMMONING THE LICH took the considered approach of eschewing superfluous technicality in favor of a leaner and more streamlined focus on song structure. Each of the tracks on Under the Reviled Throne were written with the purpose of guiding the listener through the eponymous Lich's descent into misanthropy and tyranny, without sacrificing their idiosyncratic sound.

Das neue Album von Alex Izenberg - ein Sound von King Crimson bis zu Fleet Foxes!

Alex Izenberg veröffentlicht sein viertes Album "Alex Izenberg & The Exiles" am 26. Juli über Weird World / Domino. Der in Los Angeles lebende Izenberg arbeitet auf dem Album erstmals mit fester Band zusamme und hat sich auf ein einfaches Ziel konzentriert: etwas zu schaffen, das Bestand hat. Die Melodien sind romantisch und warm, die Arrangements sind einladend und ausladend, wobei das neues Ensemble, das sich um die stärksten Songs seiner Karriere formiert hat, gekonnt eingesetzt wird. Passend zu einem Album erweiterte Izenberg seinen Prozess weiter, indem er den erfahrenen Produzenten Phil Ek (Fleet Foxes, Father John Misty, Built to Spill) für den Mix des Albums verpflichtete. Der daraus resultierende Sound ist genauso intim wie Izenbergs eher hermetisches Material und strahlt gleichzeitig ein mystisches, gemeinschaftliches Leuchten aus, das sich in seinem Gesamtwerk ganz neu anfühlt. Das Herzstück von Alex Izenberg & The Exiles sind kühne Ideen, die von den kopflastigen Gedanken des Philosophen Alan Watts, den vielschichtigen Erzählungen von King Crimson und den imaginären Visionen von Fleet Foxes inspiriert sind. Auch wenn die Thematik esoterisch anmutet, lassen Izenberg und seine Band die Musik auf angenehme Art und Weise auf die Erde driften. Zum ersten Mal in Izenbergs Karriere passt der umwerfende Sound zur Größe seiner Vision.The

Next up in Mr Bongo's Groove Merchant Records reissue series, sees an outing for a much-loved and heavily sampled funk/soul/blues album by Junior Parker. Originally issued under the title The Outside Man on Capitol Records in 1970 with an alternative cover, this reissue replicates the Groove Merchant release titled Love Ain't Nothin' But A Business Goin' On featuring the car cover released in 1971.

The Mississippi-born, Memphis-based blues singer, harmonica player and songwriter Junior Parker (aka Little Junior Parker) had a stellar career in music. Since the early 1950s he released records on labels such as Duke, Mercury, United Artists Records and more. Sadly though, Parker died at the young age of 39 during surgery on November 18, 1971.

Originally released under the alternate title a year before his untimely death, Love Ain't Nothin' But a Business Goin' On is drenched in Parker’s trademark buttery vocals and soulful grooves, swaggering between smokey blues, raw funk outings and orchestrated soul ballads (with sublime arrangements by Horace Ott).

The album also features three Beatles cover versions in the form of ‘Taxman’, ‘Lady Madonna’ and ‘Tomorrow Never Knows’. For 'Taxman', Parker completely reinterprets the song taking into a New Orleans funk realm, a sample of which was used as the main hook line on Cypress Hill's classic 'I Wanna Get High'. Elsewhere, 'Tomorrow Never Knows' is flipped into a tripped-out, psychedelic soul-swamp blues ballad, whilst 'Lady Madonna' is given a funky blues makeover.

As shown with Cypress Hill’s use of ‘Taxman’, since the ‘70s Parker’s legacy has been immortalised for future generations through the deep well of samples that his music has become a source of. Tracks from Love Ain't Nothin' But a Business Goin' On have been sampled by some of the biggest names out there, such as A Tribe Called Quest, DJ Shadow and De La Soul.

A seriously smooth album oozing with soul and emotion from a Blues Hall of Fame inductee, Junior Parker’s Love Ain't Nothin' But A Business Goin' On is a superb example of the early ‘70s crossover funk/soul sound.

Ever since the 2003 release of her debut, Another Mind, Hiromi has electrified audiences with a creative energy that encompasses and eclipses the boundaries of jazz, classical and pop, taking improvisation and composition to new heights of complexity and sophistication. On her most recent album, Silver Lining Suite, Hiromi further exemplifies her virtuosic hybridity and emotional range, finding strength and hope amidst the turmoil of the pandemic. 
 

Born in Hamamatsu, Japan in 1979, Hiromi’s first piano teacher, Noriko Hikida, exposed Hiromi to jazz and introduced her to the great pianists Erroll Garner and Oscar Peterson. She enrolled in the Yamaha School of Music and started writing music. 

 

Hiromi moved to the United States in 1999 and studied at the Berklee College of Music in Boston. Among her mentors was jazz bassist/arranger Richard Evans, who took Hiromi’s demo to his friend, the legendary pianist Ahmad Jamal. Evans co-produced Another Mind with Jamal. 

 

Another Mind was a critical success in North America and Japan, where the album shipped gold and received the Recording Industry Association of Japan’s Jazz Album of the Year Award. Hiromi’s astonishing debut was but a forecast of the shape of jazz to come. 

 

In 2009, she recorded with pianist Chick Corea on Duet, a live recording of their concert in Tokyo. She also appeared on bassist Stanley Clarke’s Grammy-winning release, Jazz in the Garden. 

 

In the summer of 2021, Hiromi performed at the opening ceremonies of the Tokyo Olympics. 

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals. Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

2024 marks the 25th anniversary of Schizo, the first full-fledged album by Heideroosjes on Epitaph Records. The album features fan favourites “Time Is Ticking Away”and “Fistful Of Ideals”, the track “Iedereen Is Gek” was in high rotation on the Belgium radio station Studio Brussel, and “Jerry Rules In The Land Of The Free” even made it on the famous Jerry Springer TV Show. This landmark album introduced them to the rest of Europa and United States and was followed-up by an extensive tour, playing with kindred spirits such as Pennywise, The Misfits, and The Offspring. Celebrating its anniversary, Schizo is available as an expanded edition for the first time, including live versions of “Sjonnie & Anita” and “Fistfuckparty At 701”, recorded at Pinkpop Festival in 1999. Schizo (Expanded Edition) is available as a limited edition of 667 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve featuring updated and revised artwork.

Enjoy The Ride Records in conjunction with Back Lot Music proudly present a limited-edition vinyl pressing of Graeme Revell's Bride of Chucky Original Motion Picture Score. Composed and Conducted by Graeme Revell and Performed by The Hollywood Studio Symphony, Bride of Chucky is the fourth film in the Child's Play franchise, and where we begin to see a bit of a shift - Andy is out, and Tiffany (portrayed by Jennifer Tilly) is in, along with comedic elements added to the horror film.

The SuperSoul Brothers is the most active soul-funk group in the South-West of France and returns with their new album "By The Way". This is the group"s third album. "By The Way" is a more mature album that explores themes of introspection, loss, sharing, joys, and the passage of time. Each track paints a picture of the group"s journey through life, filled with both moments of happiness and difficulties. This new opus features 12 tracks oscillating between Rock "n" Soul and Nola Funk. Each song is an event in itself, creating its own universe. This combo is a true band, united around their lead, vibrating and composing together. The SuperSoul Brothers formed in Pau at the end of 2015 and since 2021 have been propelled onto stages in France and around the world with the help of the legendary Dixiefrog Records label.

Sleeve Records & Dig This Way teamed back to bring to light the history and the tracks of this iconic early 70' Psychedelic Afro-funk East Nigeria group.
The Hygrades's album will include all 4 rare 45"s united in a single LP with an insert of their story told by a true Uchenna narrator.

Colored edition : Black & Silver vinyl. Standard edition is sold out.

Official reissue. New remastering vinyl of the 1979 LP by Colin Potter + "silver edition" Gatefold cover + complete NWW list on Gatefold inner


Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album by British experimental unusual and absurd music group Nurse With Wound, released on their own United Dairies label in 1979. An unusual record which blends noise and jamming.

The album's equally unusual title is a quote from the surreal, poetic novel Les Chants de Maldoror by Uruguayan-born French author Isidore-Lucien Ducasse, written under the pseudonym Comte de Lautréamont.It has been included in the "100 Records That Set the World on Fire (While No One Was Listening)" by TheWire in 1998, and is one of the records that have had a lasting impact on avant-garde, experimental and psychedelic music.It was on this record that the famous "NWW list" appeared for the first time, featuring dozens of names of musicians and groups who had influenced Nurse With Wound - a list that now serves as a treasure map for many collectors of the genre and fans of outsider music. It's been replicated here in the innersleeve of the gatefold.

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! "Ege Bamyasi" ist das vierte Studioalbum der Band und wurde im Original 1972 von United Artist veröffentlicht. Der Titel "Spoon" (zugleich die Titelmusik der TV-Serie "Das Messer") schaffte es in die deutschen Charts (Platzierung #6). "Ege Bamyasi" ist das erste Album, das im neuen Studio der Band in Weilerswist aufgenommen wurde. Das Album wird immer wieder von Musikern weltweit als eines der einflussreichsten Alben überhaupt genannt. Tracks wie "I'm So Green" oder "Sing Swan Song" wurden von Künstlern wie Beck und Kanye West gecovered!

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

Introducing “Psyche Gems”, the Jakarta Records debut LP from LA based Rapper JUICEBOX & Norwegian producer duo Myeye. Debut LP “Psyche Gems,” a collaborative musical venture sparked by an impromptu Instagram jam session in 2021, is poised to mesmerize audiences. The brainchild of JUICEBOX, a versatile artist known for his roles as a singer, songwriter, rapper, and one half of the acclaimed group Figmore (with 10.4 Rog), “Psyche Gems” emerged from JUICEBOX's admiration for Simen Hallset's psych-pop band Gold Celeste (over 20 million Streams on Spotify). After reaching out to Simen, they swiftly connected with Henrik Norbakk, the other half of Myeye, igniting the genesis of the collaborative project. An Instagram jam session in 2021 gave sonic birth to LP “Psyche Gems”. Buttery vocals meet funky, soul-driven beats, meticulously recorded live, then chopped and repurposed to create an experience that transcends sonic definition. From vibrant head-nodding energy to lush beats seamlessly melded with an inimitable vocal delivery, “Psyche Gems” captures the essence of past and present, offering a kaleidoscope snapshot of life reflected through timeless grooves. The album's distinctive sound is characterized by meticulous layering, where each element is meticulously played, chopped, looped, and jammed over until achieving sonic perfection. United by their shared passion for old soul and jazz records, ‘90’s + ‘00’s hip hop, lo-fi indie, and psychedelic music, JUICEBOX and Myeye seamlessly fuse their diverse influences to craft a musical experience that resonates with listeners on a profound level. "We wanted to create something that inspires, provokes, and sheds light on the truths we all carry inside us," explains JUICEBOX. "Psyche Gems is more than just an album; it's an infinite journal entry of reflection, a testament to the power of music to illuminate the human experience."

Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with kranky's release of the soundtrack for an imaginary film That That Is...Is(Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others.
Temple IV is the first solo recording by Roy Montgomery on kranky. The album was recorded by Roy on a 4 track tape deck and then thickened up with monophonic moog. The tracks on the album are thick with interwoven guitar lines and moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there.
Roy Montgomery spent the past year in New York, Chicago and London before returning to New Zealand. While in the UK he played live with Flying Saucer Attack and collaborated with spoken word performer Kirk Lake. A brief tour across the United States in September saw Roy performing before enraptured audiences in New York, Boston, Chicago, Detroit and Los Angeles.
The long overdue recognition of Roy Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.