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"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) -----------------------------------------------------------"

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut Ultramarine, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with Glow, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for Glow, creative directing its artwork and directing its first video. "cold Summer" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. Glow is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

The hit song "Tiramisu Cake" by the renowned Korean indie band "We Are The Night" is being released for the first time as a 7-inch vinyl.

Originally released in 2015, the track gained renewed attention in 2018 when it appeared on the soundtrack of the drama “To. Jenny,” spreading by word of mouth. In 2022, thanks to actor Kim Sung-cheol, the star of “To. Jenny,” the song experienced another surge in popularity, becoming a trending challenge song among the MZ generation. Many K-pop artists joined the "Tiramisu Cake Challenge," propelling the track to global fame.



In response to its immense popularity, "Tiramisu Cake" is being released as part of the "K-Indies Series," an analog project by the label "Bside," which highlights top Korean artists. The A-side of the 7-inch features the original mix version from 2024, while the B-side includes the band's latest track "Lantern," their first new song in about two years. "Lantern" is an energetic departure from We Are The Night's previous works and has gained strong support from fans and lovers of indie electronic music. The original artwork on the 7-inch cover, featuring the single covers for each track, enhances its value as a collectible item.



Formed in 2013, the indie-pop band "We Are The Night" captures the anxieties, hopes, and love of their generation with their dreamy and sensory synth-based sound. With four full albums released so far, their distinctive "cinematic sound" has resonated with listeners. This 7-inch release in collaboration with "Bside" marks their first step into the Japanese music market.

Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from “The French Joe Meek” and all his schizoid split-personalities and freakish friends - The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself.

Let us introduce you to some old friends of ours... Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like we’re flicking through the imaginary LP racks in the record shop from A Clockwork Orange or perhaps congratulating the runners up in a Halloweeen fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way.

This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavour it’s a large dollop of drama. Add sprinklings of szichophrenia, shock, myrth and macabre and you are on the way to a B-movie broth with an acquired taste, that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, from the Centaur to the Minotaur to Dr. Jeckyl and Mr. Hyde his split personality is the key to his infamy and the secret of his blood sucking success!

This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle and thrive and flourish independently. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer... For years prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory!

Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two - he spoke to Jesus, went crazy and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens… That would be the end of chapter one and this is the era that we will focus on for this compendium In the worldly, derelict, laboratory of Dr. Jean-Pierre Massiera we are surrounded by decaying fish fins, test tubes, fuzz pedals, echoplex units

The Midnight are thrilled to be announcing their new full-length studio album Heroes – due out September 9th via Counter Records. Along with the news, the band is releasing the celebratory new single “Heartbeat” – a rousing and electrifying track that helps set the tone for the album, which was written during isolation by the band’s Tim McEwan and Tyler Lyle. Heroes represents a clear sonic shift for the duo, who have expanded their lineup to include three live musicians – Lelia Broussard on bass, Royce Whittaker on guitar, and Justin Klunk on saxophone and synth – with both Broussard and Whittaker working alongside them on the new LP which was produced by McEwan and mixed by Ingmar Carlson (Tate McCrae, Disclosure, Carly Rae Jepsen).

Heroes is also the third in a trilogy of albums that started with 2018’s Kids – which reached #1 on the Billboard Dance/Electronic Chart – and was followed in 2020 with Monsters. “…for me, Kids is self-knowledge, Monsters is self-love, and then Heroes is empathy,” said Lyle. “I got into depth psychology and this idea of etiology, the way a human forms,” he said about Heroes, adding that “the world doesn't get better but we do. We grow into ourselves. We grow into our voice.”

You can hear this shift in the new songs which are more visceral and warmer. For a band that started as a synth-heavy duo, they have come a long way – creating fully realized arena worthy songs. From new single “Heartbeat” with its Van Halen-inspired synth leads, echoing drums, layered vocal chants and an explosive chorus to last month’s single, the propulsive guitar-laden “Change Your Heart or Die” – Heroes ushers in The Midnight’s next era with some of their biggest and boldest songs yet.

While taking a huge sonic step forward on Heroes, the band’s music still possesses the dramatic and nostalgic streak they’ve become known for since their 2014 debut in EP Days of Thunder. The new LP also reflects the confidence they’ve gained in their songwriting thanks in part due to their expanded live lineup. The band’s vivid sound is well-suited to full rock instrumentation, and the five-piece has cemented that in front on massive sold-out crowds this past year in 1-2k-capacity venues, up from 500-capacity clubs in 2019 and looking ahead to selling out London’s 5k-person Brixton Academy and similar sized venues in 2022.

Heroes is an album of songs about togetherness and trials won by love.

About:

Coming off her first Number 1 single at country radio with "Somebody Like That" & 2021 ACM's New female artist nominee, Tenille Arts is set to release her third studio album, Girl To Girl. Catapulting into the project is the Dave Pittenger produced lead single,"Back Then, Right Now” which has amassed 8.8M streams on Spotify to date. Tenille continues to deliver magic with the 13 track album while stepping into stardom on a major tour this summer through January 2022 with Lady A. Features include Matt Stell & Callista Clark.

Co-produced with Metronomy's Joseph Mount, electro-pop artist Tatyana's debut album is a careful fusion of her classical harp training with her keen sense for pop production and songwriting. Inspired by late-2000s indie pop and Swedish pop auteurs, Treat Me Right is a sparkling, catchy collection of `80s synths and futuristic auto-tuned vocals. Tatyana has lived in Holland, Russia, Singapore, and Boston - where she attended Berklee College of Music on a full scholarship - before settling back in her hometown of London in 2018. The transient nature of her upbringing has certainly informed her music: from underground raves to viral YouTube covers to playing harp on tour with Neneh Cherry, there seems to be no scene that she doesn't thrive in. Last year, she released her thrilling debut EP Shadow On The Wall via Sinderlyn. The self-produced collection was met with praise from tastemaker outlets like Nylon, Fader, Office, Bandcamp, Line of Best Fit, and Crack, as well as an exclusive vinyl pressing with Vinyl Me, Please's Rising program. Treat Me Right is the irresistible product of these impressive first steps, the kind of precisely produced, impossibly catchy pop that takes other artists their entire careers to nail.

Stepping out of the bedroom and into the Real World, Liverpool’s Strawberry Guy headed down to Peter Gabriel’s idyllic Real World Studios with Manchester’s Northern Session Collective in tow and set about trying to soften and expose the bare bones of his two biggest streaming tracks 'F Song' and 'Mrs Magic'.

Stripped of drums & synths, the music is pared down to piano and romantic new strings arrangements, bringing the careful melodies & indrawn lyrics to the fore.

Having recorded the original tracks in his Liverpool bedroom, swapping the originals’ string samples for their real-life counterparts lends the tracks an even more ethereal quality than the self-produced originals. The trip to Real World marks a first foray into studio recording for Strawberry Guy, and a new high-fidelity direction for the project, as he begins the process of making his sophomore album.

The vinyl edition of these new songs is out November 10, and features the two new strings versions along with the originals of both tracks, meaning fans can finally get their hands on a physical version of early single “F Song.”

While the music of Strawberry Guy favours a hermetic, headphones-forward sound lying somewhere between Bryter Layter-era Nick Drake, The Clientele, Slowdive’s Pygmalion, and the psychedelic 70s output of fellow Liverpudlian Paul McCartney, it’s nonetheless become a smash on TikTok and streaming services with a fanatical young and diverse fan base.

Though Emily Moales first envisioned "Camelot" as a way to escape her reality, the record equally provided a way to address it head on. As a prime example, album highlight “Not My Heart” takes a tale of unrequited love on a Casiotone waltz before bursting into a classic AM pop jangle, the imagery of Camelot swirling through the mix like a fluttering banner. Moales’ bronzed vocals sit front and center on the track and album at large, surrounded by a robust instrumental tapestry--though much like the album cover’s blend of Medieval font and shag carpeting, every bit of regal clarity is matched with warmly retro tones. While she’s spent the last few years recording and releasing handfuls of Star Moles albums digitally, "Camelot" felt like a big step for Moales, a realization of the project’s potential, making it especially fitting to be her first physical release.

Nina Grollman’s moniker, Softee, isn’t just a sardonic nod to the thrifty, soft-serve giant, it’s an earnest - sometimes painfully so - descriptor of the Brooklyn based artist’s approach to love and music. Her work is a kaleidoscopic exploration of wrought emotion, tinged with influences as sundry as Robyn, Janet Jackson, and the pure, unfettered melodrama of 80s pop. But whether she’s wrestling through a heartbreak, or making sense of her sexuality, Softee weaves her anxiety and unrest into urgently joyful, angsty queer pop. Her song “Crush,” featured on the 2022 Queer as Folk reboot, was described by Rolling Stone as “a swooning synth-pop gem that opens up at the bridge with a stream of strings that give the song a vintage disco feel, like glittery teardrops hitting the dance floor,”. Back in the day, the Moorhead, Minnesota born artist remembers Fargo-esque winters in her makeshift bedroom studio: recording Katy Perry covers and uploading them to Youtube, writing songs, and unleashing the emotional rhythm that would eventually lead her to experiment with loop pedals across New York City DIY stages alongside Linda Diaz, Sir Babygirl, Blaketheman1000 and Francesca D’Uva.

Sayonara Ponytail is all grown up! Their long awaited ninth album, “All Night Thing” sees the netizen band taking on a new, more mature sound, replacing their bubbly brand of pop with electronic drum beats and mellow bass lines.

Basing their sound off of the concept of “Night”, All Night Thing sees Sayonara Ponytail as they switch up their sound, introducing funky basslines and city pop-esque beats to their unique brand of J-pop. Digital lead single “熱帯夜”, as well as lead 7” single “Curious Girl / Crazy Boy” have received high praise, with their renewed sound lending itself perfectly to vinyl - which we just happen to be experts in! Their first full length release with P-vine, All Night Thing, is sure to be a new, exciting step in Sayonara Ponytail’s journey!

On their debut EP, Sam De Nef and Camille Camille delve into some of their most personal and introspective songwriting yet. These songs showcase their individual talents but also highlight the powerful synergy that arises when two gifted artists and unique vocalists join forces to create something truly special.

Sam and Camille are two unique and talented artists hailing from Belgium who share a gift for writing compelling contemporary folk and singer-songwriter songs. They both released acclaimed debut albums in recent years and have been crossing paths on numerous occasions. Camille appeared in duets on Sam's debut EP and his first album, Sam featured in Camille's live band, each time expressing a profound musical chemistry. This collab EP seemed the logical next step, uniting their talents to craft an EP embodying heartfelt, warm, and uncomplicated songs.

"In the collaborative journey of crafting the songs on Waving, our different creative approaches brought about a unique synergy. We feel the result transcends our individual styles. Each song resonates with our individual aspirations, which makes playing them very refreshing and challenging."

Stripped to their core, these compositions on their debut EP are defined by the gentle interplay of acoustic guitars and harmonious vocals. Only subtle percussion and the occasional cello add subtle layers to the sonic tapestry. The two recorded the six songs on their debut EP by themselves in the intimate atmosphere of Sam's home studio, opting for a DIY and back-to-basics approach. Their primary focus was on capturing spontaneity and the essence of live performance. Musical sparring partner PJ Decraene added the final touches and mixed the EP.

Heady power pop trio Portable Radio announce the release of their debut eponymous LP on March 12th 2021 on Crimson Crow Records. Lead track and first single Hot Toddy, out in February, introduces the album with its ethereal brooding pop arrangement. Some years ago, the world started to go weird – and that’s when the then duo, Portable Radio, decided it was as good a time as any, to start making first steps. Phil … and Mof … shared some messages and a love of melodies, and as a gift to friends and those feeling the weight of everything, recorded a version of Brian Wilson’s gorgeous opus, ‘Love & Mercy’. The result was enough for them to start writing songs, and the blueprint for Portable Radio was born – hope, empathy, fun, love, and mercy.

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021. This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass! Morcheeba's global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades. With at least 12 gold and platinum discs & over 350m all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

Déjàvu' is the debut solo album from Matthew Tavares, aka Matty. Originally released in 2018 as a digital only release, it now sees the physical release it rightly deserves. Produced by his good friend, the acclaimed producer / songwriter Frank Dukes, ' Déjàvu' emerged during a period of rest for Matthew after heavy touring schedules with his former band Badbadnotgood. As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. ' Déjàvu' sees a departure from the jazz of Badbadnotgood and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. As Matthew explains "I’ve always worked on my own stuff outside of Badbad, and I’ve made music that sounds like this since I was 16. But when Badbad started taking off, it was like “Ok, I can’t really make rock-y songwriter music anymore”. The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. It was also made in a difficult and reflective period in Matthew's life, with each song being a vignette to an individual. "I wrote each song about someone specifically, but then I realised very quickly afterwards that every song is about myself". Even though on the surface the record could be loosely categorized in the rock / indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of 'golden-era' Brazilian arrangers such as Arthur Verocai enrich the songs. For the Mr Bongo release of ‘Déjàvu' we have included the beautiful bonus track 'Verocai Pt. II’ which was a product of the same recording sessions and rounds off the record. Though a 'solo’ release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including Badbadnotgood members.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism. Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down. Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Mal, also known as “Mal of the Primitives”, pseudonym of Paul Bradley Couling (Llanfrechfa, 27 February 1944), is a British singer and actor who obtained Italian citizenship in 1989.After his first steps in Great Britain, it was in Italy that he found great success. At the end of 1965 he was one of the leading artists at the “Piper” in Rome, the most trendy venue in those years for Italian beat.After countless successful records (even in the world of childhood, thanks to the theme song of the TV series "Furia") and after many Sanremo festivals (the most important Italian musical TV show), as a sign of gratitude for the origins of his success in 2019 Mal released the album "Grazie Piper! (Thank you piper!)", accompanied by a video clip shot entirely inside the historic Roman venue.Now, five years after his last release, on the occasion of his 80th birthday, Mal has decided to treat himself to a book and a brand new vinyl, with the prophetic title: "I'm Still Singing"

RSD First, Limitation: 1500

Songstress Lauren Spencer Smith is stepping into the holidays with a sultry rendition of Eartha Kitt’s classic “Santa Baby”. Known for her sad ballads, the vocal powerhouse also takes on a special version of Wham!’s signature hit “Last Christmas”. This holiday combination is now being pressed on a creamy white vinyl exclusively for RSD Black Friday.

Over the course of her career, spanning three-plus decades, Laetitia Sadier has never shied away from the hard topics, or stopped advocating for the possibility of self determination and emancipation in the face of the powers that be, conscious or unconscious. This is an essential part of the foundation she co-built with Stereolab, showcasing her spiritual, scientific and sociopolitical inquiries. She’s continued this process with Monade and under her own name and as a writer/singer/and musician whose every album acts as a report on her journey of the self through time, space and the collective.

On Rooting For Love, the report is set alight by the heat of a turbulent world, collapsing institutions and Laetitia’s fully engaged process of expression as well as orchestration. The opening number, “Who + What” elucidates the central issue of the album: a call for a collective striving for Gnosis – an inquisitive outlook that will lend clues to the traumatized civilizations of Earth, allowing us to evolve away from millennia of alienation and suffering and towards the achievability of healing. The musical arrangements help to embody the layers of the issue, as with “Who + What”’s combination of organ, synths, guitar, bass, trombone, drum programming, vibraphone and zither, all working along intricate paths of chord and tempo changes. Leading from the inside is the implacable presence of Laetitia Sadier, herself interacting with a vocal assembly of men and women billed as The Choir. The regular reappearance of The Choir throughout Rooting For Love is a reminder of this music being one of a people in critical mass, in addition to an evolution that continues to deepen the rich harmonic fields in which Laetitia plays.

Past wounds are addressed again and again in the libretto, as the music provides a transformational balm to aid the healing process. The melodic funk of bassist Xavi Muñoz leads a Chic-adjacent slink to the occasional dance floor vibes and no-wave rockouts, while Hannes Plattemier and Emma Mario take turns in mixing the tracks and informing the far reaches of the material, with vibes, additional drum programming and synths alongside a talented cast of players and singers from Laetita’s Source Ensemble and beyond.

Whether drawing inspiration from Zen Shiastu training, or the lyrics of Véronique Vincent, (lyricist and singer for Aksak Maboul, and once upon a time, lead singer of the Honeymoon Killers), Laetitia faces the truth without flinching. The shadows, whatever stuff they are made of - individual and collective, present and ancestral - need to be recognized and acknowledged, because the more we heal within ourselves, the more undivided we become in the face of looming Neo-fascist/Neoliberal narratives polluting the inner and outer landscapes. As with the cover image of the winter tree mirrored by the word patterns of Rooting For Love, Laetitia maintains that how we heal the world that’s coming, and what we make of it, will be a co-creation. The quality of our imagination, the orientation we give our thoughts and the capacity to bring love to ourselves and the world are a first step.

Alongside of her collaboration with Modern Cosmology, last year’s incredible What Will You Grow Now?, as well as her continued tours with a reformed Stereolab, Rooting For Love finds Laetitia back in the world, once again urging all our grounded inner alignment and heart power to make us better equipped for creating what’s to come.

Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album Puzzles, which will be released April 5th on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt.
Puzzles is Kasper’s love letter to the sound of early 2000s New York - merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco tinged instrumentations mixed with elements of 80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time.
The album includes collaborations with a wide range of musicians and vocalists. From California based indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper’s 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho’s Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby - which Kasper then produced into a colourful and effective album, rooted in an expressive live feeling far from programmed patterns.
Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove - which is only natural after more than two decades as an active DJ.
Another piece has been added to the musical puzzle of Kasper Bjørke

180g black vinyl + 2 pages liner notes. Kana Kana is a One-man-project of Turkish musician Ovunc Dan. In this album, he successfully achieved every step by himself. He wrote the lyrics, composed the music, played the instruments and sang all the songs. Also did the mixing and mastering after the recording session. Kana Kana offers a fresh stuffs in the New Wave and Gothic Pop in Turkiye. The contrast between the dark atmosphere of the music and the energy in the rhythm made this album priceless. Simple tune but more impressive.

On 'Love Hallucination' Jessy Lanza is in control as a songwriter and producer, flexing her skills in the studio and rebuilding her sound, taking chances with production and energy in all directions, from club-ready, to downbeat and sultry, with the theme of trusting yourself in the moment and using intuition as a compass driving the record forward. `Love Hallucination' is the sound of an artist in bloom, an album of big emotions and big songs, with direct, personal lyrics, such as the upbeat but panicked opener 'Don't Leave Me Now' and the 2-step drama of 'Midnight Ontario', or 'Limbo', an ear worm disco stomper about produced with Marco 'Tensnake' Niermeski. Also featured as co-producers are David Kennedy (Pearson Sound), adding slick arrangements for the club, long-time collaborator Jeremy Greenspan (Junior Boys), and Paul White. `Love Hallucination' is a bold and immediate record from Jessy Lanza, her most clear, authentic and best to date.

Since forming in 2007, Icon For Hire (composed of singer Ariel Bloomer and guitarist Shawn Jump) have quietly amassed a legion of followers. Currently sitting at over half a million monthly listeners on Spotify, Icon For Hire are the sleeping giants of the modern rock scene, and are now ready to step into the forefront with new album ‘Amorphous’. Icon For Hire’s sound is one that effortlessly blends heavy riffs, elements of electronic production and soaring vocal lines into a powerful & bold sonic explosion.However, at the heart of Icon For Hire’s music is a message of positivity, self-love and personal empowerment from the painfully relatable and rousing lyrics of Ariel. For Amorphous, the band worked with Grammy Nominated engineer Romesh Dodangoda (known for his previous work producing the last Bring Me The Horizon album as well as acts such as Don Broco, Busted, and Kids in Glass Houses). The album has been completely funded by fans through Kickstarter. This success was achieved thanks to the band’s highly dedicated Icon Army fanbase that support them on Patreon and have been there for the band though thick, thin, litigation, addiction and more. Having overcome both personal and professional adversity, Icon For Hire are living proof that you can take control of your life—and that’s perhaps the greatest success anyone can hope to accomplish

Today, internationally acclaimed interdisciplinary artist Hyd, nee Hayden Dunham, announces her first solo musical project, along with the announcement of her self-titled EP that arrives November 5th via PC Music. More disclosure than debut, Hyd’s four-track offering lets us feel the heat that’s been building underneath, calling us back down to earth. Written on an island formed from underground volcanic eruptions 15 million years ago, the EP is produced by A. G. Cook, Caroline Polachek & umru. The EP follows Hyd’s robust career as a sculptor and conceptual artist. Deeply enmeshed in the art world and music communities, she has dedicated her practice to reinventing systems - systems of communicating, systems of sexuality, systems of interacting with our environments. Her large-scale sculptural practice, where she creates fluid, transformative art installations, has been exhibited in museums and galleries across America, Asia and Europe. Past works include GEL, a vapor that travelled through the air vents of Andrea Rosen Gallery in NYC, and 7 Sisters, a seven-act performance at MoMA PS1 that incorporated dance, music, poetry, video and scents, with additional exhibitions and performances at Fondation Louis Vuitton, Paris, the Irish Museum of Modern Art, Dublin, etc. Apart from appearances on A. G. Cook's recent Apple LP, "No Shadow" marks the first time we've seen Hayden step out musically since Hey QT, the enigmatic and controversial project she created in collaboration with A. G. Cook and Sophie. The EP cover and singles’ artworks were photographed by renowned artist, Torbjørn Rødland, whose images are saturated with symbolism, lyricism and eroticism. The graphic design identity is by Bureau Borsche, celebrated for their work with clients including Balenciaga, Supreme and The Face, among others. Creative direction by Hyd and Jordan Richman.

Following the release of the dreamy and bewitching darkwave debut single "Mirror Twin", Harsh Symmetry announces the release of a full-length debut Display Model on Fabrika Records, home of Selofan, Lebanon Hanover, and She Past Away, whose own Doruk O?ztu?rkcan mixed and mastered the LP. With a vocal style reminiscent of Cocteau Twins collaborator Cinder (This Mortal Coil, Cindytalk), and Ian McCulloch of Echo & The Bunnymen, Harsh Symmetry's Julian Sharwarko is the epitome of old-school and post-punk and goth, capturing a vision that perfectly matches his sound, while physically resembling his music forebears to the point where he looks like he just stepped out of a copy of Smash Hits circa 1983. Hailing from Sacramento, California, Sharwarko's love of music began at the tender age of 8, with parents who influenced his early music tastes by playing the music of Siouxsie and The Banshees, The Birthday Party, Iggy Pop, Depeche Mode, and Bauhaus.

Nyctinasty is the third studio album by Grout/Grout, originally released in 2019

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Fat Freddy"s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as "afro rhythmic soul music, an exploration of Black music from Polynesia", this heady mix creates the undefinable Freddy"s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their Bays studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy"s live show", says Chopper Reeds. "Usually we take the stage to the studio and this time, we"re excited about taking our studio creation on to the stage."

Extreme Honey (The Very Best Of Warner Records Years) (1997) is a compilation album by Elvis Costello, spanning the years 1989–1997. This double album is a good way to become acquainted with Costello’s Nineties’ output. There are a number of hits and singles (“Veronica,” “So Like Candy,” “Sulky Girl,” “13 Steps Lead Down,” “The Other Side of Summer”), and additional album tracks from the same period. There are a number of great moments here, whether it’s the lilting “The Birds Will Still Be Singing” from the underrated The Juliet Letters or the New Orleans-inflected “Deep Dark Truthful Mirror”. Extreme Honey also contains “My Dark Life”, Costello’s collaboration with Brian Eno (originally featured on The X-Files soundtrack), and the new track “The Bridge I Burned,” a neo-psychedelic/ trip-hop number constructed from backing tapes recorded with his son and Supergrass drummer Danny Goffey. Extreme Honey (The Very Best Of Warner Records Years) is available as a limited edition on gold coloured vinyl and includes an insert

Elsa Hewitt is a London-based music producer and writer hailing from Sussex, via Yorkshire. Beginning as a young singer-songwriter producing demos on a four-track, she progressed through fronting post-punk bands and solo electronic songwriting, all the while developing a passion for album-making which would ultimately lead her to electronic production, establishing her name producing avant-garde, experimental & ambient, leftfield dance, and lo-fi, psychedelia. Since her 2017 official debut ‘Cameras From Mars’, stepping onto the scene as a Future Bubbler and Lynsey de Paul Prize winner, Hewitt has amassed a series of distinct yet interlinked philosophical worlds; each one holding its own tones of joyful beauty and abstract darkness. With a boundless approach to merging elements of dance & ambient, Hewitt’s adventurous approach remains pinned by her earthy voice, idiosyncratic songwriting style and sharply poetic lyricism.

Eiichi Otaki's Masterpiece Album to be Released as 40th Anniversary Edition!

Each Time 40th Anniversary Edition" will be released to commemorate the 40th anniversary of the release of "Each Time", a masterpiece album by Eiichi Otaki, a giant in the Japanese pop world! Each Time" was the sixth original album released on March 21, 1984, and the last full studio album before Otaki's death. It was released at a time when Otaki was attracting a great deal of attention as both an artist and a composer, and was a huge hit, ranking No. 1 on the Oricon Album Weekly Ranking, ahead of Michael Jackson's "Thriller". The album is now being brought back to life after 40 years in three different packages!

Each Time 40th Anniversary Edition" will be released as [the ultimate box set]. An analog vinyl set of 12" + 7" records will also be released at the same time. This is a very rare limited edition release that includes the full 12" album of the [1984 Original Mix] and the 7" single "Fjord Girl / Bachelor Girl" released in 1985.

Each Time 40th Anniversary Edition" will be released simultaneously as a luxury box set, an analog record containing the 12" + 7"

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for Prom Nite, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes.

Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his How to Cut n Paste mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s Home Cooking, an album described as “boundary-breaking” by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring “Goodnight Sweetheart” with an eye for dreamboats en route to Makeout Point - on “My Energy”, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s “Love Me Like You”).

Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, “Breathe” demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth “Airplane Mode.” It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter “Harder I Rock”. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down “Coconut Grove”, and Liam Bailey is perfectly cast for the darkly cinematic sway of “Don’t Even Try It.”

On an album of many talking points, the LP’s crowning glory is opening single “Feel Like Home”: featuring the vocal comforts of the House Gospel Choir, it’s your go-to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s “Loud Places.” Extended into an alternative, equally uplifting form by Beardyman’s “Don’t Mean Thing”, summer festival season already has its homecoming anthem. With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of “Way Home”; and “Lesson 1956”, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in Home Cooking.

Magpie artwork supplied by London’s Endless, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making Prom Nite a date to remember.

Deluxxe is a new post punk/new wave band from Buffalo, NY. It was formed by Mason and Greg, and later completed with Nick, Bailey and Mackenzie, sharing members of Oi and hardcore bands such as Violent Way, Bad Blood and Exhibition. Their punk background can be heard in the music, but it's the love for new wave, post punk, darkwave, and goth that led to creation of their debut record "If You Were Me". Written in the cold winters of Buffalo, you can almost feel the harshness of the weather affecting the sounds that propagate from these grooves. Icy and frostbitten but somehow still relevantly civic and urban. The Chameleons and The Sound are two main references here, but that whole cold dimension is rocked by a strong pop vein reminiscent of After The Snow-era Modern English and occasionally enhanced by a hoarseness typical of a young Paul Weller. Passionate lyricism proper of Echo And The Bunnymen and hopeless romanticism à la Sad Lovers And Giants get balanced by a sharp songwriting which keeps everything in perfect order, giving you exactly what you need, nothing more and nothing less. You can tell some skinheads are involved here because the outcome is so tidy and neat, without losing one inch of atmosphere or enchantment. If you are wondering how something that was invented forty years ago can still sound, literally, fresh and cool, look no further because what this band delivers lives just up to its name.

Limited to 100. Dead Astronauts are one of the leading acts in the Synthwave & Synthpop scenes, blending the lines of Darkwave, Goth and Post-Punk. Previously composed of two members, Jared Kyle and Hayley Stewart, Hayley left to focus on her solo work (Mecha Maiko) and Dead Astronauts was reformed. Florence Bullock then took on the female lead, replacing Hayley in 2019. As a silent member and Record Producer, Slade Templeton (of Crying Vessel, Influx Studios) stepped in to help bring their new sound to life in 2019 and 2020 and round out the band. Dead Astronauts have regrouped and reworked the style they were known for, to become something modern, edgy, new and improved. Dead Astronauts are back and ready to ignite that flame in their fanbase that has been waiting, asking for more!

Bristol-based Damefrisor have announced their first extended play "Island of Light" via Permanent Creeps Records, due for release 24 February 2023 and follows previous singles "Do You Think I"m Special?" and the BBC 6 Music playlisted "2-heh-v". First taster is the epic, widescreen "Horizon" which builds on the texturally rich soundscape the band have already laid. "Horizon" sees the band fuse club and dance influences with industrial and post-rock seen in their earlier work, as they venture on the next step of their musical evolution.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, [extra life] is true and pure - in a way I haven't felt about music in a really really long time."

A few copies arrived with a Bent Corner Cover. We're therefore selling it on a reduced price

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque." Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass. The new lp, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "s/t" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "s/t" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque." Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass. The new lp, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "s/t" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "s/t" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

"San Francisco Bay Area bon vivants with an impressive pedigree and playful meld of loopy Syd Barrett flights of fancy; sparse Young Marble Giants-styled quietness & minor-key New Zealand sub-underground dissonance..."—Dynamite Hemorrhage fanzine.

- Composed by Carter Burwell - 140 gram Black Vinyl - Manufactured in Czech Republic A frequent collaborator of THE Banshees OF Inisherin writer/director Martin McDonagh’s, Academy Award®-nominated composer Carter Burwell previously worked on three of his films, starting with In Bruges. He also worked on Seven Psychopaths, as well as his Oscar-nominated score for Three Billboards Outside Ebbing, Missouri, their last collaboration.

For THE Banshees OF Inisherin, McDonagh already had, for one section of the film, a piece in mind that’s performed by a Balinese gamelan ensemble – mostly metallic instruments. Taking that inspiration, Burwell weaved gamelin instruments alongside the score’s three main instruments: the celeste – a keyboard that plays bell sounds, the harp, and the flute to create the film’s highly-acclaimed score.

“The score to Banshees is, like its slow simmering conflict, delicate and nuanced and heartbreaking all at once,” said Mondo Creative Director Mo Shafeek..” It takes small steps backwards and forwards like crashing waves on a lonely island, strings and woodwinds dancing with one another, in a waltz. The whole score plays like a dance between two overlapping voices - occasionally harmonizing, but never connecting. Occasionally beautiful, but always a bit melancholy.”

Carla dal Forno resurfaces with the news of plans to release her third album, Come Around , via her own Kallista Records imprint. Now, based in the township of Castlemaine, Central Victoria, the Australian artist returns self-assured and firmly settled within the dense eucalypt bushlands. Dal Forno grapples with ideas of home, disorder and insomnia in the swift pop structures of her DIY/post-punk forebearers such as Young Marble Giants, Virginia Astley, and Broadcast. Three years since the launch of her label, Kallista Records, dal Forno finds stability in Castlemaine (pop. 6,750), her third home city in as many albums. After nearly a decade of moving, recording and touring out of Berlin and London, Come Around embodies a newfound solitude born of/in elemental pop hooks and enlightened songwriting.

The second album from Cantaro Ihara is finally here!

Deftly weaving everything from 70’s soul to AOR to city pop into his sound, Cantaro Ihara makes pitch-perfect groove-forward pop music. With high praise from DJs both in his native Japan and abroad, this second album is sure to be killer! With a knowledge of music unbound by genre, recent years have seen Cantaro Ihara’s star steadily rising. Whether he’s compiling music for DJ Bars, providing commentary for international artists, or releasing 7-inches that sell out on pre-order, it’s clear that the young musician is quickly becoming a force to be reckoned with in Japan’s indie music scene. In the two years since his first full album C, Ihara has leveled-up, and Portray makes the clear from beginning to end. From a Japanese-language cover of free soul legend Weldon Irvine’s “I Love You” (the original 7-inch led to intense bidding wars after heavy radio play in both Japan and abroad) and the Ihara original “Twiny”, the lead singles are already off to the races. Gripping the hearts of crate diggers worldwide, it seems predetermined that Ihara’s newest album would be funky, soulful, and mellow. Yet Portray manages to remain shockingly fresh, without any of the obvious tropes that have threatened modern soul. A feature from Japanese trumpeter Yusuke Sase on “Baby So In Love” catapults the song into neo-soul territory, bringing a new twist to a timeless sound. Meanwhile, a feature from Bialystocks keyboardist Go Kikuchi on “Yoru no Nagare” (The Flow of the Night) sees one of Ihara’s most instantly iconic melodies played with a gentle sophistication that could move you to tears in one moment, and have you two-stepping the next. With a history of selling out vinyl on pre-order and intense bidding wars, I’d say it’s clear that Cantaro Ihara is not just one of Japan’s most promising musicians, but one that continues to grip the hearts of record lovers everywhere. His second full length album Portray has everything there is to love about him. Mellow soul and funky grooves are aplenty - but I can’t say the same for stock! Make sure to get your copy of Portray on limited edition vinyl while stock lasts!

The long-awaited LP of the English version of the Fuji TV drama "Long Vacation" soundtrack!

An album in which the songs used in the play are sung in English, including the 90's R&B classic "Deeper and Deeper". In addition, "Minami-Piano Piece of Senna" played by Toshifumi Hinata (piano competition theme song for main character Hidetoshi Sena) and an instrumental track are also included. Produced by Daisuke Hinata.

In 2024, a new chapter unfolds in the history of one of the true pioneers in the electronic music genre - the Tromsø duo, Bel Canto.

The upcoming album, 'Radient Green' expected before the summer, brims with creative and musical abundance. It sounds fresh and new while drawing from the unmistakable sonic landscape of the band's remarkable musical treasury, which includes mega-hits like 'Shimmering, Warm & Bright' and the Spellemannpris-winning 'Magic Box,' to name a few.

The journey has been long, with many notable names contributing to the process, including Gilles Martin, who co-produced the band's first two albums, Erik Ljunggren, and Matias Tellez, who has mixed the new album.

It's been 22 years since Bel Canto last released an album, but now it’s finally due.

Continue As Amery is the debut album by Montreal-based artist Amery. Formerly recording under the moniker Alpen Glow, Continue As Amery sees the songwriter step out into a bold, colourful world full of pop hooks, snagging feelings of abandon and the mornings after.

Amery Sandford began releasing as Alpen Glow in 2020 after years playing in punk groups in Newfoundland and as half of Montreal pop duo Born At Midnite (Arbutus). Recorded in Montreal by David Carriere (tops, Marci), Patrick Holland, and Kristian North, Continue As Amery is a blast of melodic joie de vivre. On her debut Sandford brings her punk and DIY credentials into sharp focus on 8 perfect pop odes to city living, making mistakes and figuring it out as you go along. Suffuse with powerful imagery and an almost uncanny talent at spinning out hooks brimming with humour and spirit, Amery’s soundworld is informed by friendship, experience and by her day job as a renowned illustrator and visual artist. Beginning Alpen Glow in a spirit of fun and now shedding the alias, Amery’s ready to hotwire the nite.