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Norwegian guitarist and composer Anders Buaas´ new album “The Edinburgh Suite” is set for release by Apollon Records on September 9th this year. The album features an all-star line-up with Marco Minnemann (Steven Wilson etc.) on drums, Tony Franklin (ex-The Firm, ex-Whitesnake, Blue Murder) on bass, Christian M. Berg on mallets and percussion and Richard Garcia on keyboards. A two-part suite inspired by the history of the magnificent city of Edinburgh. Anders says: “Crack open your favourite bottle of single malt and join me on a sonic journey through the history and the streets of Edinburgh.”

Norwegian guitarist and composer Anders Buaas´ new album “The Edinburgh Suite” is set for release by Apollon Records on September 9th this year. The album features an all-star line-up with Marco Minnemann (Steven Wilson etc.) on drums, Tony Franklin (ex-The Firm, ex-Whitesnake, Blue Murder) on bass, Christian M. Berg on mallets and percussion and Richard Garcia on keyboards. A two-part suite inspired by the history of the magnificent city of Edinburgh. Anders says: “Crack open your favourite bottle of single malt and join me on a sonic journey through the history and the streets of Edinburgh.”

Here's the debut album of Animaux Formidables, a sensual and explosive masked power duo formed in early 2022. We are talking about two characters with animal-like features, fed so far on glam, blues, and rock ‘n roll. They express themselves with a garage-fuzz-noise sound at an extremely fiery level, both on record and on stage, the band’s natural habitat.

Say the artists on the genesis of the album: “Our producer Marco Fasolo, who first listened to some of our stuff recorded with a smartphone in the rehearsal room, encouraged us to reproduce the live sound on the record. So we did a single live take for each song, recording in two rooms divided by glass to avoid feedback. No overdubbing or post-production processing was done. In this way what you hear is the essence of who we are, how we compose and perform our music, with all our deep passion and expressive urgency”.

Avishag Cohen Rodrigues is an artist and musician based in New York. She broke out to the Tel-Aviv underground scene at age 18 with the guitar drum duo Laila. Since then she has been playing electric guitar with Ryskinder, Sloppy Jane, Cumgirl8. She has a forthcoming solo project where she plays too many of the instruments. She is currently an MFA candidate at Columbia University in the Sound Art Department.

In 2019 she released her first EP “One Winter One Hunter” with Baby Satan Records (Berlin). She has opened for major acts such as Dirty Beaches, Better Oblivion Community Center, Mac DeMarco, Psychic Ills, Deerhoof, Cloud Nothing, Night Beats, Wire, The Shivers.

Time and Time is an introspective song about the inexorable flow of time. Cynical and nostalgic and yet powerful, it is vaguely inspired by the song Time by Richard Hell and the Voidoids from which the verse "only time can write a song that's really real" is taken. Written in the midst of the pandemic years, it is also the first track composed after Bee Bee Sea's latest studio work "Day Ripper". Musically halfway between Brmc and The Stooges, it was enriched with the electric piano played by Marco Giudici, also producer of the single.

Golgotha is the sixth studio album by Bleeding Eyes. After Gammy (©2014 Go Down Records) the band embarked on a different stylistic and compositional path. Starting from long and substantial jams, the five-piece band extrapolated and deepened 7 tracks lasting almost 50 minutes. The influences are getting darker. Black on black. The esoteric doom mixed with the tipically sludgy attitude, give to their personal existential ordeal a picture in which Simone Tesser’s lyrics fit perfectly. Golgotha’s topics tell about saints and unbelievers, the latter ones in constant conflict with life and death. This new interpretation, that also takes inspiration from the heretic gospels of the apocalypse (first 2 tracks), represents the steady and never ending spiritual detachment, that our capitalist society has lived in for several decades. With mocking irony and lots of sarcasm a post-dogmatic dark way is proposed by the band to deal with the ordeal of everyday life. The studio recording process lasted several months and was handled by Jason Nealy and Marco Dussin (guitarist and bassist respectively). Drums and rhythm guitars were recorded at the music club Benicio Live Gigs, located in the suggestive woods of the Montello hill in Italy. While the final steps, mixing and mastering took place at BadRum studio in Asolo, Italy. Golgotha has a really deep and dense meaning for the band and the graphic part plays an important role too; that’s why the Bleeding Eyes has chosen the Lorenzo Ferraro’s photography. The album artwork consists in pictures taken right after the passage of the devastating storm Vaia, that heavily damaged the band’s hometown surroundings. The desolation post Vaia matches perfectly with Golgotha’s magmatic darkness. The event proved our disarming weakness in front of an untamed force of nature, that can unleash destroying powers yet unknown. The album title itself is therefore -calvario- the combination of a natural imagery that reveals the misery of the precarious human condition.

Golgotha is the sixth studio album by Bleeding Eyes. After Gammy (©2014 Go Down Records) the band embarked on a different stylistic and compositional path. Starting from long and substantial jams, the five-piece band extrapolated and deepened 7 tracks lasting almost 50 minutes. The influences are getting darker. Black on black. The esoteric doom mixed with the tipically sludgy attitude, give to their personal existential ordeal a picture in which Simone Tesser’s lyrics fit perfectly. Golgotha’s topics tell about saints and unbelievers, the latter ones in constant conflict with life and death. This new interpretation, that also takes inspiration from the heretic gospels of the apocalypse (first 2 tracks), represents the steady and never ending spiritual detachment, that our capitalist society has lived in for several decades. With mocking irony and lots of sarcasm a post-dogmatic dark way is proposed by the band to deal with the ordeal of everyday life. The studio recording process lasted several months and was handled by Jason Nealy and Marco Dussin (guitarist and bassist respectively). Drums and rhythm guitars were recorded at the music club Benicio Live Gigs, located in the suggestive woods of the Montello hill in Italy. While the final steps, mixing and mastering took place at BadRum studio in Asolo, Italy. Golgotha has a really deep and dense meaning for the band and the graphic part plays an important role too; that’s why the Bleeding Eyes has chosen the Lorenzo Ferraro’s photography. The album artwork consists in pictures taken right after the passage of the devastating storm Vaia, that heavily damaged the band’s hometown surroundings. The desolation post Vaia matches perfectly with Golgotha’s magmatic darkness. The event proved our disarming weakness in front of an untamed force of nature, that can unleash destroying powers yet unknown. The album title itself is therefore -calvario- the combination of a natural imagery that reveals the misery of the precarious human condition.

Formed in Toronto in 2013, after the break-up of Chad Ross and Andrew Moszynski’s acclaimed outsider outfit, Quest For Fire, Comet Control require little introduction to anyone well-versed in the realms of contemporary psych. After hashing out ideas for a new record following a European tour with Earthless in 2018, Ross and Moszynski escaped down the rabbit hole of their own Palace Sound Studio, to write and record new material. Material that will be unveiled this summer with the release of the band’s third studio album, Inside The Sun, on New York’s legendary underground label, Tee Pee Records. Alongside bassist and fellow founder Nicole Ross, drummer Marco Moniz, keyboardist Jay Lemak and a guest appearance from Godspeed You Black Emperor’s Sophie Trudeau, Comet Control form what is arguably one of the most kinetic and dynamic rock bands in recent memory. Drawing on a cosmic well laced with the imposing riffs of Dead Meadow and Sacri Monti, the motorik grooves of Krautrock, and those dimly lit passages of noise synonymous with the European shoegaze of Spiritualized and Ride, they are a phenomenal band, both on record and on stage. As anyone who has witnessed them live in support of acts like Boris, Black Mountain, King Gizzard & The Lizard Wizard and Vibravoid will attest.

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.

Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn.

Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company.

Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions.

‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond.

Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."

Sleeve art by Michael Willis.

One of the most experimental bands of the Italian Prog scene, Dedalus were founded at the beginning of the '70s by Michele Bonansone (keyboards, cello, vocals) and Marco Di Castri (guitar, saxophone) in Pinerolo, near Turin.

Their first eponymous LP consists of instrumental jazz-rock compositions, influenced by artists like Nucleus, Miles Davis, Soft Machine, Stockhausen and many other musical innovators of the time. "Dedalus" was originally released in 1973, and in the same year the band took part at the Avantgarde and New Trends Festival in Naples, being pointed as the real revelation of the event.

The album, enclosed in one of the most peculiar Italian Prog artworks by Cesare Monti, already contains some of the avantgarde hints which would be fully developed in the following "Materiale per tre esecutori e nastro magnetico".

The Phantom Band guitarist, Duncan Marquiss' instrumental solo (ad)venture finds electronic guitar manipulations intertwine with wandering acoustic ambience. With one foot in 1970s Germany and the other in the woods, rivers and mountains of northeast Scotland. From tender yet sweeping acoustic moments to experimental electronic guitar manipulations, the album feels like a ceaselessly sprawling exploration of texture and tone.

Expedition is a collaboration between sound artist The Dead Mauriacs (aka Olivier Prieur) and collage artist Evan Crankshaw, based on their mutual interest in treating exotica as both a subject and a material. Evan Crankshaw's 2015 collage book, also entitled Expedition, is assembled and collaged by hand from a vast archive of popular exoticist printed materials, and explores recurring motifs in expedition narratives, simultaneously evoking and alienating the exoticist fantasy.

In 2018, the book was interpreted for a live performance at Festival BBMix (Boulognes-Billancourt, France) in collaboration with The Dead Mauriacs, who created a complete exotica-concrète score accompanying projected images of the book & live narration. That collaboration can be heard on this album, an armchair-travel virtual-voyage to the heart of an imagined actual elsewhere, stitched from pieces of narcotizing fabulisms, disturbing actualities, and incomprehensibilities – an interior excursion into the exotic immensity.

Faith Healer quietly crystallizes on their new album The Hand That Fits The Glove, reshaping their already approachable pop sound into something even more immediate and invigorating.

With their 2017 album Try ;-), the duo of Jessica Jalbert and producer/multi-instrumentalist Renny Wilson began stripping away some of the ‘60s chamber pop influences that had informed the earliest Faith Healer material, and these eight new songs continue expanding outward in new directions. It’s a multicolored assortment of richly detailed songwriting that feels surprisingly straightforward, knowingly concealing its complexities always just beneath a sheen of composed cool.

The evolution that brought Faith Healer to this point has been ongoing since the project’s earliest days. Jalbert and Wilson had been working together since the time when Jalbert was still performing under her own name in the early 2010’s, transitioning to the Faith Healer moniker on 2015 album Cosmic Troubles and their creative partnership truly solidifying with Try ;-). Those albums were built from the ground up with an insular design, with sole contributors Jalbert and Wilson adding overdubs and sculpting the sound. The core Faith Healer duo expands their membership for the first time on The Hand That Fits The Glove, inviting additional musicians into the picture and filling out the sound with a live band feel. Players from various intersections of Canada’s indie circles played on the album, including contributions from longtime Faith Healer collaborators like Jenni Roberts (who’s also done some time as a touring musician on runs with Tops and Calvin Love), Mitch Davis (a solo artist with work out on Arbutus), Conor Donaldson (sometimes drummer for Mac DeMarco), and Ross Nicoll. Jalbert and Wilson worked intermittently with different personnel in different settings, meticulously refining songs over time until they were dialed in with precision

Fanfara Station will be back with a brand new album on Garrincha GOGO, a Garrincha Dischi’s sub label devoted to world music contamination. The Band’s music is indeed mixing the power of a brass band with the energy of the rhythms and the chants of Maghreb and electronic music, an overwhelming dance party. Fanfara Station are Marzouk Mejri, a Tunisian multi-instrumentalist,
Charles Ferris, an American Horn player and the Italian DJ/producer Marco Dalmasso aka Ghiaccioli e Branzini. “Boussadia”, the new album, is the first chapter of a path that explores the cultures of each member. Nord Africa is the first chapter, a voyage trough the roots of the singer and percussionist Marzouk. He moved from
Tunisia to Napoli in the 90’s, where he worked with the most important artist such as Daniele Sepe, James Senese, Eduardo De Crescenzo, 99 Posse, Peppe Barra and many more up to his latest collaboration on Nu Genea’s latest album.“Boussadia” has been recorded in Tunisia in order to immerse and breath the capture, capture the streets’ vibe and work with local artists such as the rapper VIPA, a full immersion in the cosmopolitan Tunis.

This work is deeply inspired by the Stambeli, the animistic music of the Tunisian slaves. Boussadia is a Tunisian mask, a griot dress with multi color clothes. The result is an album on a fine line in between live and electronic music, enriched by a ritual and transcendental feeling that ressembles the band’s live show, his energy and hypnotic rhythms can lift the listeners and take it to a new dimension. Most of the tracks are created recording the band’s live improvisations in order to capture the energy of their concerts

Born from the ashes of the hellish French Alps, Fäust, leaded by Michaël Hellström, just delivered it's first record. "Death from Beyond" is an epic Black Metal album influenced by the Scandinavian scene and bands such like Dissection, Necrophobic, Watain, Sacramentum... From the majestic opening "When Death Spawns Fire" to the epic ending "Hellstorm", this album is real trip through darkness and chaos. With the second single "Night Eternal", Hellström shows his abilities with the songwriting to create cold, obscure but really melodic pieces. The album was recorded in Soulreaper Studio (France) by Michaël Hellström, mixed and mastered in Hellpass Studio (Brazil) by Marcos Cerutti. "Death from Beyond" is made for all those who worship the glorious Scandinavian scene from the 90's. Sharpen your scythe, enter the darkness and beware the Death from Beyond.

Eight long years after their debut ‘bacteria’, we’re stoked to reveal Guineapig's sophomore album ‘parasite’. ‘parasite’ will redefine the very concept of Goregrind. The material is absolutely cutting-edge and forward-thinking without ever losing sight of the roots of the band, with a strong songwriting that fluctuates between abysmal tunings, Death Metal mid-tempos and ripping breakdowns. The production is crisp and blistering, courtesy of Marco “Cinghio” Mastrobuono (Fleshgod Apocalypse, Hour Of Penance, Shores Of Null).

What if Black Sabbath played Afrobeat? In short, that's the underlying vibe to the self-titled debut by Here Lies Man. The L.A. based quintet is founded and conceptualized by Marcos Garcia of Antibalas, bringing his erudite experience of West African rhythms and music to the more riff-based foundations of heavy rock. The results are an incredibly catchy and refreshing twist on classic forms, without sounding forced and trite like some sort of mash-up attempt. Here Lies Man merges and expands musical traditions organically, utilizing the talents of drummer Geoff Mann (son of jazz musician Herbie Mann) and a host of skilled musicians to make Garcia's vision a reality.

Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Since that time, they have expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past two years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018. No Ground to Walk Upon is their third album. It continues with an ongoing concept of playing a soundtrack to an imaginary movie, with each song being a scene.
Rough Trade named Here Lies Man in their prestigious Top 10 Albums of 2017. BBC 6 and Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. This latest album is the next step in the band’s rapid ascent to what is bound to be influential upon riff-based rock.
“We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist / guitarist / multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound—if Black Sabbath played Afrobeat—might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues-based than before, but the ancient rhythmic formula of the clave remains a constant. “Musically it’s an opening up more to traditional rock elements,” says vocalist / guitarist / cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.” The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder / drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full four-piece band, including bassist JP Maramba and keyboardist Doug Organ. This album continues with an ongoing concept of the band playing the soundtrack to an imaginary movie, with each song being a scene. Musically and sonically, the album is also self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” “We’re very conscious of how the rhythms service the riffs,” Garcia continues. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters. You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari. In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings. But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya. All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters. You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari. In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings. But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya. All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

Melody As Truth founder Jonny Nash returns to action with his first solo album in four years.

Over the course of eleven mesmerising tracks, Nash points the compass gently inwards, casting aside any conceptual frameworks in favour of exploring an imaginative and idealised “personal folk music” that combines elements of traditional acoustic music with the producer’s richly immersive interpretation of ambient, a sound he has been developing for well over a decade.

From the smudged acid-folk bliss of ‘Theories’ and ‘Eternal Life’, to the layered acoustic guitars of ‘All I Ever Needed’ and the delay-soaked, Durutti Column-esque ‘Light From Three Sides’, a wide variety of musical textures weave their way throughout the album.

Point of Entry is much more than a mere ‘guitar album’ – it draws on a rich and diverse palette to achieve its purpose. The delicate saxophone work of ambient-jazz contemporary Joseph Shabason swells on ‘Ditto’ and ‘Light From Three Sides’. Cascading piano lines ripple through the crystal clear sonic waters of ‘Face of Another’, whilst echoes of Nash’s work with Gigi Masin and Young Marco as Gaussian Curve appear in the dancing synth sequences of ‘Ditto’ and ‘Golden Hour’. Nash’s reverb-laden voice also appears for the first time since 2016’s critically acclaimed Exit Strategies, used delicately throughout the album to conjure up a world of dusk and golden light.

Combining the delicate human touch and naivety of earlier Melody As Truth releases with widened scope and vision, Point Of Entry is arguably Nash’s most complete work to date – an album that’s as much a statement of his “personal folk” vision as a future ambient classic.

Juan Wauters' fifth solo album, Real Life Situations, is a multifaceted ode to surrendering control and taking life as it comes. References to radio abound on its 21 tracks, and with good reason - the album spans genres, narrators, languages, and perspectives with the ease of spinning a rotary knob. Mining older songs, phone notes, new material, and snippets from TV and YouTube, Wauters has crafted an aural document of the year through his eyes.Despite the circumstances of its creation, Real Life Situations is not a quarantine record. In many ways it's the opposite of one, taking togetherness as both its subject and its primary medium. Pre-lockdown collaborations with Mac DeMarco, Peter Sagar (AKA Homeshake), Nick Hakim, Cola Boyy, El David Aguilar, and more playfully offset Wauters' more pensive solo tracks, and even in its sparest moments the album pulses with life. This is due in part to an impressive array of interludes and samples, most of which are field recordings that Wauters collects on his phone, ranging from the innocuous ("A Peter Pan Donuts Conversation") to the intense ("Crack Dabbling"). Under his care, these small moments become coordinates for the peaks and valleys of human experience, coloring the album with Wauters' unique shade of realism. "Some people think I'm an optimist", he explains, "but I'm not. I'm always seeing all sides of things."Of course, Wauters himself never disappears in the boisterous crowd -...

Kal Marks have never made a record as personal as Wasteland Baby. Though Carl Shane, the band’s vocalist-guitarist, has made a career off of exploring blunt, uncomfortable truths through song, with Wasteland Baby, he steered Kal Marks toward something utterly new. Shane looked inward to stare down a fear that had long plagued him: What would it look like to have a child in a world that looks like this? “The album was driven by the fears I’m having about being a father,” says Shane. “The initial spark was this fear, and I thought that maybe if I could express it, I could overcome it.”

What started out with this simple premise slowly grew into a sprawling, borderline-concept record. It’s no surprise, then, that Kal Marks went deeper and darker than ever before when writing Wasteland Baby. Though, in order to reach that final product, it required the band—bassist-vocalist John Russell, drummer Adam Berkowitz, and guitarist-vocalist Christina Puerto, who is also Shane’s partner—to interrogate every decision they made with exacting detail. ”We were really all on the same page in that we wanted to make something really, really special and that was going to require us putting a lot of ego aside and just trying to serve the songs as best as possible.”

“In an ideal world, Kal Marks will go on forever. But it may be the end of a chapter for a while. I don’t want it to be the end, but there was an element running through the album that maybe could be the end,” says Shane. No matter what the future holds, Wasteland Baby is an emphatic reminder to brush off the things that keep you from truly living and venture into the unknown.

Out on May 6th 2022 via Svart Records, Finland’s own masters of frenzied Proto-metal, Kaleidobolt, bring the past up to date with a new album that perfectly elevates all the promise and flair their reputation has been boiling over since their 2015 debut album. “This One Simple Trick” packs more punch than most bands with far larger lineups, the deadly trio of Sampo Kääriäinen on guitars, lead vocals and keyboards and Marco Menestrina on bass, vocals, keyboards, percussions are reinvigorated by recent new recruit, drummer Mårten Gustafsson.

Gustafsson, according to Menestrina, brought his own “very creative musical mind, drumming chops for days and a great sense of humour” to “This One Simple Trick”. Kaleidobolt have never sounded this ferocious and exhilarated, that their joy makes the songs on “This One Simple Trick” as infectiously contagious as the pandemic they were created under. Gustafsson’s relentless drumming matching every beat of Menestrina and Kääriäinen’s genius instinct for bad-ass rebellious Hard Rock, it feels like “This One Simple Trick” is Kaleidobolt hitting the bullseye in every enthralling moment.

Kaleidobolt’s incendiary humour and sense of fun that the band had in the studio with the injection of new blood, transfuses straight through the jugular into a powerhouse collection of explosive songs, and relentless energy that’s impossible to deny. Kaleidobolt’s ascension to the zenith of “This One Simple Trick” has been mounting like wildfire, where Finnish bands of this caliber haven’t been seen since the 1970s. “This One Simple Trick” was mostly recorded at E-Studio (a very fancy and large studio in southern Finland) in August 2021 and a bunch of overdubs and vocals sessions at Wastement in September/October (a well worn rehearsal place in Tampere that has been birthplace of some of last decade’s best Finnish Psychedelic Rock music).

All the sessions were supervised by Niko Lehdontie (best known for Oranssi Pazuzu & Kairon:IRSE!) who produced and mixed this blistering album of stone-age Blues and crushing riffery. Rabble rousing tracks like “Weekend Warrior” give Scandinavian Blues-Rock titans Hellacopters, Graveyard and Witchcraft a serious run for their money with psychedelic riff-mountains like “Ultraviolent Chimpanzee” bringing to mind the purple–hazed deserts of Josh Homme on acid suddenly gone all Tame Impala. References hard to come by when a band this inspired hits full throttle but must be witnessed and experienced to believe. Not just our favourite underrated live band of timeless song-smiths, plenty of Psych-Rock afficionados and Prog Rock freaks the world over are starting to wax lyrical about how stupendously potent Kaleidobolt’s hard rock magic–brew really is.

Every person we meet, every moment we live through, all the love we feel, and the losses we endure, add another layer to the intricate pattern of our lives. Like multicolored threads, these layers twist together to form a complex, vibrant tapestry — a reflection of our life journey until this point. On his new album Layers, Khalab acknowledges and celebrates the encounters that have shaped his ever-evolving musical vision. The record, out on August 25th with his own Hyperjazz Records, represents the culmination of a creative journey that began with his Eunoto EP (Black Acre Records, 2015), evolved with the Afro-Futuristic soundscapes of 2018’s highly acclaimed album Black Noise 2084 (On The Corner Records/!K7), and has since developed further through a series of experiences and deep musical collaborations. Layers summons all the alchemy of Khalab’s live performances, and embodies the transcendental power of music making as a collective art form. Over the past five years, Khalab has shared the stage at Italian and International festivals with many exceptional musicians, an experience which has sharpened the musicality of his compositions and enhanced the depth and complexity of his sound. “Since the release of Black Noise 2084 I’ve increasingly developed the stage and band dynamic, focusing on arranging with the musicians in mind, and this album was almost entirely conceived together with musicians I’ve collaborated with” says Khalab. In a testament to the label’s close-knit and highly collaborative nature, Khalab's live band includes a cadre of musicians from the Hyperjazz family, including David Paulis and Enrico Truzzi of Phresoul, as well Pietro Santangelo, Fabio Sasso, and longstanding creative-partner Nicola Guida. The album’s nine tracks feature an impressive lineup of collaborators old and new, including UK drummer and producer Emanative, Burkinabe singer, guitarist, and m’bira player Gabin Dabiré (passed away a few weeks ago), Italian producer Clap! Clap!, multi-wind instrumentalist Tamar Osborn, drummer and producer Tommaso Cappellato, British-Bahraini trumpeter Yazz Ahmed, Bristol’s vocalist and producer Grove, multi-instrumentalist Tenderlonious, Italian jazz singer Alessia Obino and British-born Nigerian spoken-word artist Joshua Idehen. Layers still revolves around the key components of Khalab’s sound — dark and trancey electronics and his research into Black music and all its evolutions — but with a bigger emphasis on harmonic arrangements. Across the album, Khalab’s productions twist and pulsate into mesmerizing motifs, as the interplay between different instruments coalesce into focused melodies and rich, complex textures. Khalab and his collaborators masterfully blend gloomy and radiant tones, eliciting feelings of both doom and hope. The album will be preceded by three lead singles: “Layers” feat. Joshua idehen, “Tunnel Of Jealousy” feat. Lady Blue Eyes, and “Female Side” feat. Tommaso Cappellato.

For Khalab, Layers represents the end point of a journey that began with the synthesis of ancestral rhythms and electronic experimentation on Black Noise 2084, and has taken him on a meandering route through a Mauritanian refugee camp (M’berra, Real World Recordings, 2021), and deep into the catalogs of legendary Italian labels Soul Note and Black Saint (for the Hyperituals compilations, released on his own Hyperjazz label). In Khalab’s own words: “For me this feels like coming full circle, because everything will be more experimental going forward”. Credits All tracks written & arranged by Khalab Produced by Khalab & DJ Knuf With the vital contribution of these amazing musicians: A1. Yazz Ahmed (flugelhorn, trumpet), Alessia Obino (voice), Nicola Guida (synths), Fabio Sasso (drums) A2. Emanative (drums), Tamar Osborn (baritone saxophone), Grove (lyrics, voice) A3. Lady Blue Eyes (voice) A4. Cristiano Crisci (synths), Pietro Santangelo (tenor saxophone) A5. Joshua Idehen (lyrics, voice), Cristiano Crisci (additional synths) B1. Tommaso Cappellato (synths), Enrico Truzzi (drums), David Paulis (electric bass), Cristiano Crisci (additional synths) B2. Gabin Dabiré (voice, m’bira) B3. Tenderlonious (flute) B4. Magnus PI (percussion), Alessia Obino (voice), Pietro Santangelo (tenor saxophone), Enrico Truzzi (drums) Mix by DJ Knuf at Studio 33, Rome Remix by Khalab at Studio 33, Rome Megamix by Satori Stereo Saiyan Mastered by Frank Merritt at The Carvery, London Visual project design by Marco Klefisch

Parlami Ancora is the only Kina record with the four pieces line up. Former Franti member Stefano Giaccone and Marco Brunet brought a breath of fresh air to the band’s sound. The record – originally released in 1992 – was a worldwide passport for the band that finally reached a higher cult status outside the national boundaries.

Originally released 23 years ago on CD , "Troppo lontano e altre storie" is finally reissued on LP for the first time. 13 remastered tracks produced between 1986 and 1994 by the Italian seminal Hardcore Punk band. Here you can find in detail, the complete versions of three tracks recorded live in Lubeck (D) during the 1986 European tour and previously issued on 7". Four songs from a series of acoustic sessions recorded in 1988 and previously issued on singles and compilations. Four songs produced with Stefano Giaccone and Lalli from "La diserzione degli animali del circo", the 1989 Kina / Howth Castle 12". A song from the Kina / Act 1990, split single, and finally the 1994 recordings featuring Marco Brunet on guitar and vocals. In the original 1996 liner notes, Kina wrote: All these recordings have been published on records that will never be reissued again. Hopefully you will be pleased to find them all together in this collection. Now, if we compare the first and last piece, we'll find a big difference in terms of sound and playing quality. It's still us though, luckily we grew up and we've changed too, and we're so proud and happy of our past and present. Always yours Sergio, Alberto, Gianpiero, Marco, Stefano and Lalli.

Klasse Kriminale is a legendary punk Oi!band from Savona, Italy, founded in the 1980s by Marco Balestrino. The band is a key figure in both the Italian and international Street Punk scene, known for their extensive discography, including 12 studio albums. "Belin, Dei Pazzi!" is their last album, a tribute to the early Punk band from Savona and Genoa and to that sound born in the 80's, when it all started. Obsc...

Klasse Kriminale is a legendary punk Oi! band from Savona, Italy, founded in the 1980s by Marco Balestrino.The band is a key figure in both the Italian and international Street Punk scene, known for their extensive discography, including 12 studio albums."Belin, Dei Pazzi!" is their last album, a tribute to the early Punk band from Savona and Genoa and to that sound born in the 80s, when it all started.Obscure and underground bands like "Total Crash", rare and desperately wanted stuff from "HERBERTS", "GANGLAND", or 80s subcultural hymns like "Ziga Zaga OiOiOi! from "SHELLSHOCK". Klasse Kriminale brought back to life 15 lost songs, most of which have never even been recorded, reinterpreting them in their unmistakable style.A true musical archaeology work, rounded up by an unwritten Klasse Kriminale song "Keep the Faith". The 15 tracks, full of anger and fun, reflect the DIY spirit and alternative approach of the early punk bands.Recorded at "Vecchio Son" in Bologna, the project involves historical musicians and young talents.A work of passion as a tribute to the Punk Rock scene they were born in.Vinyl available in classic black or as clear with Italian Tricolor-Splatter, contains two inner sheets where the story and songs were also told from Marco himself! 1. INANDIA2. BRUCIA LA CITTA (VANEXA)3. DEMOLIZIONE PERIFERICA (TOTAL CRASH)4. SANGUE IN GRADINATA (GANGLAND)5. ZIGA ZAGA OI!OI!OI! (SHELLSHOCK)6. GIARDINI DI PLASTICA (HERBERTS)7. SORRIDI (DRULL)8. INFRANGETE LE LEGGE (GANGLAND)9. A.K. RULE OK (ALIENATED KIDS)10. IO SONO IL FRUTTO DI QUESTA REALTA (TOTAL CRASH)11. MARIO (RAGNI)12. SKIN DELLA LANTERNA (U-BOOT)13. BASTARDA CHIAMAMI (MAURIZIO HERBERTS)14. LIVING IN A JUNGLE (HERBERTS)15. KEEP THE FAITH (KLASSE KRIMINALE)

After the one-two punch release of a head-turning limited 10-inch EP in 2013, followed by an equally mezmerizing 7-inch (the "Traumhaft" single, reissued by TiM in Feb of '14), Swiss duo Klaus Johann Grobe finally unveil their full-length offering, "Im Sinne der Zeit ". In their short existence, members Sevi Landolt (organ/...

The group are based in Bologna, but all hail from different towns in Italy. These five young men - singer/guitarist Michele, bassist Marco, drummer Francesco, guitarist Andrea and saxophonist Jacopo - bonded over wildly differing influences - everything from midwestern emo gods American Football, to Berlin-era Bowie, to James Chance & The Contortions, to rap and electronic music - to create a dense, passionate, articulate sound of their own. You can file them near fiery post-punk kindreds like Shame and Squid, or unhinged 90s noisers like Unwound or Hoover, or squalling No Wavers like James Chance, but the truth is there are few bands like Leatherette that walk this Earth. The songs on first full-length, Fiesta precede the Covid era, though the group spent the pandemic rewriting and overhauling their maiden batch of songs at leisure. The result is an astonishing and remarkable debut: poetic, caterwauling, broken and beautiful.

Les Marquis were an Austrian band active in the 1967-1971 period. Their debut single - Fire Horses - released in 1969, is one of the best Garage/Folk-Rock European gems of the late sixties. Limited edition of 400 copies.

Limited 180gm vinyl LP pressing. 2017 release. As a follow-up to his most personal project to date, 2015's Koi, in-demand Italian session bassist and RareNoise recording artist Lorenzo Feliciati has upped the ante on Elevator Man. A powerhouse recording with echoes of King Crimson, Allan Holdsworth and other prog rock icons in it's ten tracks, this outing by the prolific bassist-composer-arranger features a rotating cast of stellar musicians, including King Crimson drummer Pat Mastelotto, former Holdsworth drummer Chad Wackerman, Swedish Freak Guitar shredder Mattias IA Eklundh (of the Jonas Hellborg Trio and Art Metal), Italian progressive metal guitarist Marco Sfogli (currently of the legendary Italian prog rock band Premiata Forneria Marconi, AKA PFM), trumpeter Cuong Vu and Feliciati's Naked Truth bandmate Roy Powell on distortion-laced clavinet. As well as composing and arranging all the material, Feliciati plays fretted and fretless basses, electric guitar and keyboards on his seventh and most potent recording as a leader to date.

When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12"just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrelyfunny promo videos, wildly unhinged live performances and a not-so-subtle disparate rangeof promo photos. The glam facade was purely that, an image that was manufactured for funto confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't alla jest, as that EP covered a whole range of music styles that were latent in the ex-MakeoutVideotape frontman's already impressive slough of cassette-only releases. The sincere andwarm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned"Baby's Wearing Blue Jeans" and that suited him and his listeners just fine.Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2.As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcasesMac's natural ability as a songwriter, singer and producer. With a new arsenal ofrecording gear, the fidelity has substantially improved without compromising the immediacyand organic quality of his prior releases under any monicker. The results are immediatelyrewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind ofWoman." It's obvious Mac is presenting himself musically in the most sincere way possible,no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood,"Mac's apologetic ode to his loved ones about such public behavior, shows that MacDeMarco is still with us, coming along for the ride, getting everyone else in trouble. Evenso, the maturation process of Mac DeMarco, recording artist, is in full swing.He did, after all, turn 22 this April.

Grey White & Orange Vinyl.Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill."

10 Year Anniversary restrospective double LP collection including both "2" and "2 Demos" as well as an 8 Page Booklet containing new liner notes written by Mac. Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." "It's tough to say which DeMarco is preferable: the swooning clear-eyed baritone of the last two songs or the unsettling deep-voiced emoter of the first eight. Really, I'm a fan of both versions -- the goofy creep and the straightforward crooner." - Pitchfork

Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear thesesongs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." Captured Tracks now brings this limited edition demos release back in print on green vinyl to celebrate the label's 10th Anniversary.

Like the days of Steely Dan, Harry Nilsson or Prince releasing a classic every year (or less) comes Mac DeMarco’s Another One, a mini-LP announced almost one year to the date of the meteorically successful Salad Days. Conceived and recorded entirely by himself in a short period between a relentless tour schedule at his new place in Far Rockaway, Queens, Another One is eight, freshly written songs, expanding the arsenal of Mac’s already impressive catalog. There’s a bittersweet, romantic sensibility present. The overall feeling is lost love, or perhaps love never found, yet Mac embraces this without making it an overly somber experience for the listener. It’s at times haunting and warm, and a bit more refined and sophisticated, but still plenty playful, retaining the guts and soul of classic Mac.

Captured Tracks brings listeners the demos of Mac DeMarco's latest mini LP, Another One, as a limited Record Store Day Release,!Over the past few years we have watched Mac develop from a cult artist, to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as a true role-model for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings, and honest hard-earned acclaim. These recordings give an intimate view into the world of Mac DeMarco like never before, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Filled with lofi fuzz built upon foundations of infectious pop melodies, this collection of songs showcases Mac DeMarco in his truest form. This 16-song LP, as opposed to the 8 songs available on Another One, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

Demos of Critically-Acclaimed Album, 'This Old Dog'.Captured Tracks brings listeners a selection of demos - one of which was previously left on the cutting room floor - and instrumentals from Mac DeMarco's latest LP, This Old Dog, as a limited Record Store Day Release.Over the past few years we have watched Mac develop from a cult artist to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as an inspiration for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings and honest hard-earned acclaim.These recordings give an intimate view into the world of Mac DeMarco, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Old Dog Demos, a 15-song LP that is divided into Demos on Side A and Instrumentals on Side B, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco'ssecond full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.'Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tonefor an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of thepositives and negatives of their current situation at the ripe old age of 23.Written and recorded around a relentless tour schedule (which picked up all over again assoon as the LP was done), `Salad Days' gives the listener a very personal insight into whatit's all about to be Mac amidst the craziness of a rising career in a very public format. Thelead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like"...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the samerecord that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comesfrom their success. "Chamber of Reflection," a track featuring icy synth stabs and soulfulcrooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration.Standout tracks like these show Mac's widening sound, whether insights into futuredirections or even just welcome one-off forays into new territory.Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through.The same crisp John Lennon / Phil Spector era homegrown lush production that could havewalked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that'scompletely of right now. "Brother," a complete future classic, is Mac at his most soulful andeasygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco."Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooningvocal melodies, effortless chords that come along only after years of effort, and the otherelements seriously lacking in independent music: sentiment and h...

Mac DeMarco's breakthrough sophomore album, Salad Days - released on April Fools', 2014 - garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from "loveable slacker" to "mature songwriter with a gaptoothed grin," all at the tender age of 23. DeMarco's demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac's world and process.

This is the first official release of the 2015 fan favourite, limited to 5,000 copies worldwide, pressed on canary yellow vinyl.

In the summer of 2015, Mac DeMarco released "Some Other Ones", a collection of original instrumental recordings that DeMarco referred to as his "BBQ soundtrack", as a free digital download exclusively on Bandcamp. It was recorded in just 5 days at his home in Far Rockaway, Queens, about a year after the huge success of his third album "Salad Days" and just weeks before the release of the mini-LP "Another One". Originally released in conjunction with a barbecue DeMarco hosted to promote "Another One" and raise funds, "Some Other Ones" soon gained cult status and is now considered by his fans to be an important contribution to his beloved catalogue. Now, almost 10 years later and following the success of his last instrumental album "Five Easy Hot Dogs", "Some Other Ones" is finally being released as an LP.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks.It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here).Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco.Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

from mother Superior/Rollins Band

Transparent Blue Vinyl.After years of preparation, Marcus Drake emerges from the basement networks of the resistance underground to claim the first save point along his quest ahead. Welcome to Save Point 1, a universe where popular forms of the past collide at warp speed with Marcus's mutant inspirations to produce sounds and genres hitherto unknown. Save Point 1 is a visionary and singular Debut work of Avant Rock & Pop Alchemy, blown apart and reassembled under the laws of Quantum Musical Mechanics. Written, Produced & Performed by Marcus Drake, the album eludes classification, but sounds like a sci-fi fusion of musical DNA from Nine Inch Nails, Prefab Sprout, Nobuo Uematsu (the Final Fantasy video game composer), Animal Collective, Prince, Mr. Bungle, Liars, The Mars Volta, and Lil Ugly Mane.The album marks the first release under Drake's own name, and the latest since his 2017 release as Anthony Fremont's Garden Solutions_his idiosyncratic side-project with Water From Your Eyes' Nate Amos, Options' Seth Engel, and NNAMDI. He has also since scored for film and video, including the Adult Swim short Thoron the Conqueror.Save Point 1 isn't just a new beginning, but a reintroduction to Marcus Drake the artist and composer. Drake experimented with new techniques and approaches for many years while recording Save Point 1, a process that transformed his sound, voice, and artistic identity. The resulting oeuvre is giddy and dreamy, an Olympic-height diving board from which to descend through indie rock and videogame soundtracks, thrilling math-rock riffs that turn experimental, and synths that glow in rainbow hues. Just turn to the glitchpop of "Heaven's in the Rot" or the slow-motion acoustic glitter that is "Dragon It Out" to hear it in motion. And note the two-part "Haunted" suite that funnels his unpredictable experimentation into darker, weirder directions.

Red Transparent vinyl. Cover with bumped corner

Les Disques du Crepuscule presents a unique anthology by artful Brussels postpunk-funk band Marine, fondly remembered for their dazzling debut single ‘Life In Reverse’ in 1981, and now back with a clutch of brand new studio tracks.

The cover art is by Lddc art director Benoit Hennebert and based on the ‘Same Beat’ single sleeve from 1982. The vinyl edition s of TWI 143 is limited to 500 copies pressed on blue vinyl and includes a digital link. All tracks are newly remastered in 2023.

Formed in late 1980 around charismatic frontman Marc Desmare together with musicians from infamous punk band Mad Virgins, Marine made an early splash supporting Orange Juice and Josef K at the legendary Plan K venue, Postcard Records afterwards keeping tabs on the Sound of Young Brussels.

Snapped up instead by chic boutique label Les Disques du Crepuscule, Marine released their infectious debut single ‘Life In Reverse’ in April 1981, attracting rave reviews in the Belgian and UK press, reaching the giddy heights of #6 on the NME indie chart, and even being invited to record a radio session for John Peel - a world first for a Belgian band.

Soon favourable comparisons were being drawn with The Pop Group, A Certain Ratio, Defunkt, James White and Fire Engines, some pundits even sensing a new Haircut 100. ‘We’re not a fashion band,’ insisted Marc in UK rock weekly Sounds, ‘and it’s not really dance music. But all the same I’m glad people dance to it.’

Alas, artistic differences caused the fast-rising group to part ways in a London studio, when half the band quit to form pop-funk sophisticates Allez Allez. With new Marines on board, Marc and bassist Paul Delnoy went on to release two further singles (‘How to Keep Cool’ and ‘Same Beat’), gigged extensively around France and the Low Countries, and played a headline show at The Venue in London. ‘Fine, disciplined and gleeful rhythm workers,’ enthused Chris Bohn in NME. ‘A happy, contagiously clean aural equivalent to a Serge Clerc cartoon.’

Alas by the summer of 1982 Marine were all washed up, with Marc going on direct films and documentaries as Marco Laguna. Four decades later, finally heeding desperate pleas from Crepuscule that his sensational first band never cut an album, Marc has written and recorded another 6 remarkably authentic sounding Marine songs with help from like-minded friends in Brussels and Paris, once more drawing on a heady mix of supercool funkabilly, jazz and soundtrack influences.

‘It was an incredibly strange experience to revisit my past,’ says Marc, ‘but definitely fun. I’m glad, and I’m proud!

HEAVY, ENTRANCING TRANSMISSIONS FROM THE GREEK UNDERWORLD.Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris.Markos, as he's known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like "Hash-Smoking Mortissa" and "In The Dark Last Night" provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos' songs.These recordings, incredibly rare and expertly remastered,mark the height of rebetika, the brief periodbetween the music's emergence on the recording scenein the early 1930s and government censorship of alllyrics starting in 1936. During the Axis occupation therewas no rebetika recording, and though Markos had somehits in the years after the war, he never again attai...

Markus Acher (best known as singer of The Notwist) typically produces his own music under the name Rayon – this time, however, is a different story. Using his real name, he sends a signal re: the circumstances he recorded the music in - at home in his old apartment in Munich, in a private setting, in a time when there was hardly anything else available. Accordingly, and rather fittingly, the four songs represent a bridge to the outside world: Acher tore the doors to his balcony wide open, inviting the outside in , capturing its sound on tape: rain falling, engine noise of passing cars. And at the same time the songs pushed outward, into that sphere that remained off-limits to us for some time (“Like a plane they can go everywhere”).

The four tracks - arranged for harmonium, acoustic guitar, banjo, glockenspiel, percussion, a children's harp and vocals - were released digitally in 2021 via the Japanese independent platform Minna Kikeru, run by Saya (member of the duo Tenniscoats and Markus Acher's bandmate in Spirit Fest), among others. For two songs of «Like A Plane», Saya contributed vocal tracks as well.

The follow-up to his acclaimed Constellation debut Third Album released in lockdown spring 2020, Markus Floats returns with Fourth Album, pushing the Montréal-based artist's distinct abstract electronic compositions into newly evocative terrain (while preserving his record-titling literalism). Faced with another couple of years spent unexpectedly, though not unfamiliarly, secluded and studio-bound, working on both paintings and music, Floats emerged by the end of 2022 with a set of tracks "about 60% finished" and a determined desire to throw off the shackles of distancing and isolation. "I had always thought about Markus Floats as a solo project but I am wrong about that. Fourth Album is about asking for help, inviting in, and making a home. It's about trust, exploration, and the effort of letting go."Sharing his in-progress recordings with a trio of close friends and collaborators from the powerhouse free music ensemble Egyptian Cotton Arkestra, each of these players then spent a day improvising to the tracks at Montréal's Hotel2Tango studio. With violin by Ari Swan, saxophone and mbira by James Goddard, and guitar and drums by Lucas Huang, Floats stitched their extemporized instruments back into his compositional process. The result is a fluid, lustrous, dynamic expansion of his sound and structure that continues to strike the ineffable balance of abstraction and soulfulness rightly highlighted and celebrated in the critical response to Third Album. Fourth Album sustains much of that previous work's enchanting equanimity, while inviting a bit more restlessness, accident and grit, with the incorporation of acoustic instruments and improvisation melding Floats' own background in Electroacoustic Studies and Jazz Performance more than ever before.Signature avant-electronic explorations of arpeggiated and timbral transformation, subtle shifts in harmonic consonance and dissonance, and a through-composed praxis that draws coterminously upon free jazz, musique concrète and modern Minimalism, all continue to sha...