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Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. 'It gave me space to think about the biggest version of myself that I could be,' she says of those early days in the cabin. The songs she wrote were a departure from anything she'd ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again.

In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on 'Polar Bear.' She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs.

The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it's queer Cyndi Lauper. It's neon pink, in your face, ready to hex you with its brilliance. It's an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

The International Feel label is back from an extended meditation. Well-rested and with a cornucopia of new ideas and records, IFeel is happy to announce the debut album from Charlie Charlie as the starting shot. „Little Things“ is the brainchild of Gabriella Borbély alias Bella Boo and Jens Resch better known as Chords. Born on a beach in Southern California instead of their hometown Stockholm, it is exactly what you would hope for such a record to be: pop music that is informed by hippie or counter culture and by a Balearic ethos (hence the International Feel address) that is free of blinkered definitions. In equal parts, the duo’s ten songs take the listener through honey dripping r&b, while respelling that certain Californian recording studio sound aesthetic, revisit vintage yacht rock and pop tropes as well as they are reflecting dance music influences in a broken, yet gold framed mirror. Most of all, it’s like a day dream that you don’t want to end. To quote our Italian friends from Edizioni Mondo: good listening experience! Band info: Charlie is Gabriella Borbély – also known as Stockholm’s deep house virtuoso Bella Boo. Charlie is Jens Resch – also known as prodigious producer/musician Chords. The two Charlies met on a beach in Southern California and immediately decided to write a song together. That first track was built on the sampled sounds of a rusty drainpipe. Charlie fired up a dusty ARP Odyssey and played a woozy solo over the drainpipe beats, then the other Charlie did the same, using that same legendary 70’s analogue synth. When they realized the two separately recorded solos played together in perfect harmony, they knew they had to keep heading down their newly found, shared musical path.

‘Animal’ was a word Laura Marling threw into a lyric simply to meet a rhythm. But it seemed to capture the mood of the new record, and of Lump as a whole. “There’s a little bit of a theme of hedonism on the album, of desires running wild,” she says. “And also it fed into the idea we had from the start of thinking of Lump as a kind of representation of instincts, and the world turned upside down.” It is something childlike and grotesque and filled with possibility, they say. “We created Lump as a sort of persona and an idea and a creature,” says Mike Lindsay. “Through Lump we find our inner animal, and through that animal we travel into a parallel universe.”

Lump is the product of Brit Award-winning Laura Marling and Mercury Prize-winning Mike Lindsay. Lump's second album 'Animal' will be released on 30th July 2021 on Chrysalis Records & Partisan Records."

Cultured Swiss techno label Acquit has put together this cheeky little 7" from Trecci with one great tune on each side. 'Invisible Self' is the opener and it is a delightfully curious, inviting blend of soft focus synth loops and smeared pads that sounds like waking up on a distant planet. On the flip, 'Sit And Wonder' starts with pensive piano chords which are eventually carried away on a supple deep house grove with loopy bongos and a feel-good sense of late-night cruising. Tasteful stuff for sure.

"Limited to 300 copies. Okayama's 8-bit hardcore punk band Yahho has released their 1LP, 45rpm, 39-track ""Yahho no Tanoshimikata"" on analog!

Okayama's Yahho, who has played numerous legendary live shows at the All Senses Festival hosted by Juusangetsu/GEZAN, Meteo Night hosted by Less Than TV, and more, will release their first album "" Yahho no Tanoshimikata "" (4-disc set: 3 CDs + 1 DVD)in August 2023. Despite not being distributed nationwide, they sold hundreds of copies through their own live merchandise and their own online shop. And one year after the release, "" Yahho no Tanoshimikata "" is finally being released on analog for nationwide distribution! The vinyl version also includes two new songs not yet released on CD! Limited to 300 copies pressed, so hurry up! ----------------------------------------------------------- We have received comments from everyone regarding the release of the vinyl version of YAHHO's "" Yahho no Tanoshimikata ""! ----------------------------------------------------------- (Yahho) That's why it's fun, and that's why it's lonely. (Together with someone) That's why it's fun, and that's why it's lonely.

Asano (wetnap, GAME&chips) ----------------------------------------------------------- My image of Yahho is him stumbling around on his own over 8-bit sounds, and he's also a friend who often invites me out. He recently performed overseas. I think he's an artist who doesn't fit into a box. It's great to archive his work! He makes me feel free. Yahho of the World

Moto Kawabe ----------------------------------------------------------- The first album by Yahho, the greatest punk rocker born at Kurashiki University of Science and the Arts, has finally been released on vinyl. Yahho is here to rewrite and update the view of Japanese punk history!

Kawakami Konosuke (Author of ""Punk no Keifugaku"") ----------------------------------------------------------- On ""How to Enjoy Yahho"" Hey, Yahho! Isn't this first album packed with the romanticism of Yahho, music, and love for friends? While laughing, I read the lyrics and it hits me hard, and there are various gradations of blue. Seriously, no matter what mood I'm in, Yahho always responds with the best Yahho at that time. He'll be stupid with me and get depressed with me. Yahho's Yahho is bottomless! Infinite! Look, just saying Yahho makes me feel like I'm floating. Then I hear Yahho! from far away. After that, I can jump really high. It's a dream to have this sound source become a record! Come a little closer, Yahho! Please keep shouting and letting us hear it to each other. I love you forever!

THE Guays Captain Ryosuke ----------------------------------------------------------- He may look ordinary, but he's a weirdo. I love Shintaro's way of life.

Goto(MASTERPEACE) ----------------------------------------------------------- Yahho Analog Record Release! I was asked to comment, but when I hear Yahho, it's just a nightmare.

Contrary to Hamai's appearance, Yahho's charm is its over-the-top performance and sound, but when they visited Miyazaki Prefecture on a live tour, this caused a disaster, and they were banned from both the live house they performed at and the bar where they had their after-party. Rumors about their performance and sound spread to the Chamber of Commerce, and they were banned from all live houses and bars in Miyazaki Prefecture, and on top of that, all the bands they played with that night were also banned, which was a nightmare-like bonus. The rumor spread like wildfire among the prefecture's residents, and if a hiker shouts ""Yahho"" at the top of a mountain, they are looked at with disdain and spat on, and they can't stand it anymore and rush down the mountain... It has developed into a situation like this.

Yahho, congratulations on the release of the analog record!

Hiroaki Sakai ----------------------------------------------------------- 「Don't Forget Youth Memories,Forever.」

Boredom is the reason why I'm constantly irritated. Boredom is also the reason why I'm constantly spacing out.

Of course, boredom is also the reason why any mathematical formula, no matter how important, slips in one ear and out the other. That winter when I was 16 years old. I wanted something to destroy the saturated negative emotions. And I found it. It was undoubtedly the music of ""Yahho"".

Loud 8-bit sound and booming guitar. Screaming vocals writhing on the rough waves of that sound. In ""Extra Yahho"", the 8-bit sound is transformed into a hardcore band sound, with blast beats and screaming vocals exploding. What follows are unique raps and acoustic pop masterpieces. A fast-paced legend of 47 songs and 40 minutes. (*These comments are based on the CD version. The LP version contains 39 songs.) From the day I pressed the play button on my player, ""Yahho"" music became a part of my life.

When I listen to ""Yahho"" music, I feel the urge to scream. I'm sure I'm not the only one who feels that way. ""Ya-ho"" shouts out the boredom and frustration we've been holding inside, using it as a springboard. The poetic, yet endlessly straightforward lyrics really bring that home.

I pack all my boredom and endlessly overflowing frustration into a backpack and start running. I don't need to decide where to go. Just look ahead. This album gives me the push I need. I hate it. No, I'm totally against it. It's okay if you're bad at it, just keep going. I'm convinced that becoming an adult isn't that hard. "" Yahho no Tanoshimikata"" taught me everything.

It was a winter when I was 16, not sure if I was an adult or a child. Alone in my messy room, I pumped my fist into the air and said, ""I hope this album will help me become an adult.""

Shokudou (door TO Door) ----------------------------------------------------------- Hitting your forehead on the strap. Earphones and sighs leaking out as the train moves slowly. The music that plays when you take that first step to transfer from one crowded train to the next.

Nishioka (Peoples) ----------------------------------------------------------- How to enjoy Yahho I said out loud, ""This is the ultimate Famicom hardcore punk!!!!!!!!!!!!!!""＼(^o^)／ I love how the song ends so quickly＼(^o^)／ I love how it's gentle and tenacious＼(^o^)／ More than anything, I love how it's fun＼(^o^)／ In the end, I was lucky to be able to listen to a variety of music＼(^o^)／

Nozawa Dive Kinshi (Niji no Tasogare) ----------------------------------------------------------- For the vinyl release of Yahho's ""How to Enjoy Yahho"", I asked people around Yahho who are close to me and have always looked after me for comments, and they all replied promptly and readily agreed, which really made me realize how charming Yahho is and how charismatic he is as an artist. *From the beginning, Yahho said he felt bad about asking for comments from everyone, so I took the initiative and did it on my own.

It wasn't easy to get to the point where we decided to release it, but I was driven by a mysterious sense of mission that even Yahho himself probably didn't want, that made me reach this project. Yahho released a CD last year and sold hundreds of copies individually without national distribution, so I took a selfish action that even he didn't want at all, in order to put him in a more interesting situation. Yahho has already established a solid position in the underground, but we approached Yahho with the idea of releasing this album with the sole desire that more people listen to their music, that they come to their live shows and get excited and laugh, and that we want them to become a part of everyone's lives.

This is a wonderful album that you should listen to and experience for yourself if something isn't going right every day and you're struggling and wondering if things are okay. Once you've listened to it, all that's left to do is gather in the mosh pit at the live venue.

Thank you Yahho!

Hiracchi (manga Shock) ----------------------------------------------------------- I think if you listen to this album on vinyl you'll want to run out the door as fast as you can. Awesome!! Mikuru (ANORAK!) ----------------------------------------------------------- To Hamai Congratulations on the release! The three of us used to go to coffee shops together Do you remember? Don't you remember? I hope we can go again someday

Y.I.M. Omiru Asu chan ----------------------------------------------------------- That packs a punch!

Watson (Dotsuitarunen) -----------------------------------------------------------"

Swedish songwriter and multi-instrumentalist FredAtlast has announced his debut EP 'Banner Of A Lost Belief' to be released on Small Matter Records. Fred, currently better known for his day job as the bassist in Little Dragon, describes lead single 'One Day' as 'A meditation on impermanence and our way of dealing with loss. A plea to our nearest to be: nearer, dearer and more daring'. The EP was written in Fred's kitchen under the spiritual guidance of the late author Sven Lindqvist and has been his way of finding a direct voice, embracing a new sound and diving into the deep well. It was recorded in the Little Dragon studio in Gothenburg with help and support from the rest of the band who feature in different ways on the EP.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981’s provocatively-titled Music for Teenage Sex on Robbie Fields’ L.A.-based Posh Boy label. Happily, the project’s guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not” sounds like Human League stuck in a car with The Residents. And their cover of “All Shook Up” sounds like a musical kin to those inscrutable eyeball guys too; it wouldn’t be out of place on Meet the Residents. “Little Things” is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves’ Meg Brazill and label head Fields. The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa’s own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to 500 copies.

‘Animal’ was a word Laura Marling threw into a lyric simply to meet a rhythm. But it seemed to capture the mood of the new record, and of LUMP as a whole. “There’s a little bit of a theme of hedonism on the album, of desires running wild,” she says. “And also it fed into the idea we had from the start of thinking of LUMP as a kind of representation of instincts, and the world turned upside down.” It is something childlike and grotesque and filled with possibility, they say. “We created LUMP as a sort of persona and an idea and a creature,” says Mike Lindsay. “Through LUMP we find our inner animal, and through that animal we travel into a parallel universe.”

LUMP is the product of Brit Award-winning Laura Marling and Mercury Prize-winning Mike Lindsay. LUMP's second album 'Animal' will be released on 30th July 2021 on Chrysalis Records & Partisan Records."

Little Creatures are long running Japanese band formed in 1987 while still in high school by Takuji Aoyagi (Vo/G), Masato Suzuki (Bass/Key), and Tsutom Kurihara (Dr/Per). They gained popularity while performing street shows centered around Shinjuku and Shibuya and debuted with a single in 1990 “things TO Hide”. 2020 marks their 30th anniversary from their debut. In January of 2021, they released their 8th album, “30”, a masterpiece packed with advanced minimal pop music that can only be made by the current Little Creatures, which boasts overwhelming musicianship and career.

At an age of plastic and digital screen reigning, when it is almost impossible to feel anything in front of a contemporary art piece, it is still possible to be moved by a drum machine …. and a keyboard……

There are still artisans and sunday painters who will put a little of their troubles and their humanity at the service of their art. Certainly a merchant of colors in a previous life, Med paints his songs with a Benedictine patience, distilling its doubts in its small pop compositions with soft water reflections where everyone could see themselves as in a mirror.

MED is Médéric Gontier, guitarist of Tahiti 80, first solo effort. Where the band had not often ventured outside English, Med uses the French language and caresses it in the direction of its melodies. Produced with the help of Pedro Resende, these are ten pieces both aerial and aquatic, light but finally of a real consistency.

Immediately pop («Dans ses yeux»), reminiscent of the great French composers of the sixties («Avec toi») and with them that of the English of Broadcast to Vanishing Twin («Muzak»).

It’s a bit time for the Norman to make a pause and for that, to put his nose out, it’s freetime, the one of those who will never claim to be better than the others but whose records will be kept close to the heart.

The new album by “kiss the gambler,” a gifted pop music maker with a voice that combines the innocence of a child and the depth of an adult, is now available as analog 12"! Many musicians participated in the arrangement, including Masayuki Ishii (tica), Shingo Suzuki (Ovall), Masato Suzuki (little Creatures), and Yosuke Sato. The natural-born pop maker sends us a pop world that seems to be everywhere and nowhere, as if we have moved into an exotic apartment.

‘San Vito’ is the new album from the Ivor Novello award-winning & multi-platinum selling UK indie-pop band The Feeling.

The album was written and recorded in Southern Italy and saw the band decamp there to self-produce the record as a band together. What began as a short writing trip, turned into a full album project with the Italian sun, food and culture seeping through into the sounds on the record. The band brought in local brass, strings and pizzica / tarantella percussion players – the result being very much an album by The Feeling but with a subtle Salento flavour mixed-in.

The title ‘San Vito’ is influenced by the name of the local town San Vito Dei Normanni where the band spent their time off from the studio soaking in the local culture, food and pizzica music. Highlights include lead single ‘The Right Wrong’ – a driving indie-pop anthem about freeing yourself from judgement, a gorgeous duet with US-based country singer Lucie Silvas & plenty of the flamboyant, upbeat 70s-inspired harmonised indie-pop that the band are adored for.