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This incredible new release follows a path along the electronic skyways first created by the German/Krautrock electronic pioneers of the 1970s such as Cluster, Ash Ra Tempel, Roedelius and Michael Rother.Hawksmoor is James McKeown. He first created "Hawksmoor" five years ago as an imaginary hauntological soundtrack, inspired by the six Hawksmoor churches in London. Further releases have followed on Environmental Studies, the cassette-only label "Spun Out of Control", Castles in Space and The Library of The Occult.For his debut on Soul Jazz Records, Hawksmoor has created a fascinating blend of these two sensibilities - a love of German electronic music of the 1970s alongside the British retrofuturism and cultural memory bank aesthetic of hauntology - Ghost Box, Mount Vernon Arts Lab, Advisory Circle, Focus Group etc. Using strictly modular synths (Moog Sub37), electronic drum rhythms, and guitars, Hawksmoor creates an electronic landscaped music world that is both new and old, immediately identifiable and yet utterly unique.

This incredible new release follows a path along the electronic skyways first created by the German/Krautrock electronic pioneers of the 1970s such as Cluster, Ash Ra Tempel, Roedelius and Michael Rother.Hawksmoor is James McKeown. He first created "Hawksmoor" five years ago as an imaginary hauntological soundtrack, inspired by the six Hawksmoor churches in London. Further releases have followed on Environmental Studies, the cassette-only label "Spun Out of Control", Castles in Space and The Library of The Occult.For his debut on Soul Jazz Records, Hawksmoor has created a fascinating blend of these two sensibilities - a love of German electronic music of the 1970s alongside the British retrofuturism and cultural memory bank aesthetic of hauntology - Ghost Box, Mount Vernon Arts Lab, Advisory Circle, Focus Group etc. Using strictly modular synths (Moog Sub37), electronic drum rhythms, and guitars, Hawksmoor creates an electronic landscaped music world that is both new and old, immediately identifiable and yet utterly unique.

Over the past eight years Teenage Wrist have continually evolved their sound, a process that"s peaking with their third full-length, STILL LOVE.Reaching new heights in both scope and execution, the album sees the duo-Marshall Gallagher (vocalist, guitarist, bassist) and Anthony Salazar(drums, vocalist, percussion)-producing the album themselves to handcraft their most expansive collection of songs to date from the groundup. ? e result is a self-realized collection of songs that saw the band borrowing vintage gear, bringing in friends in the form of members from 311vocalist/turntablist Doug "SA" Martinez and Softcult and incorporating tasteful pop sensibilities to craft a collection of songs that rede? nes theband"s sound while staying true to their guitar-driven roots.From the atmospheric, fuzzed out opener "Sunshine" (which Gallagher says is "the coolest ri? he"s ever written") to the midtempo rocker "DarkSky"" (the latter of which features the aforementioned cameo from 311 vocalist/turntablist Doug "SA" Martinez), the album will undoubtedlyplease fans who favor distorted guitars and crunchy chords. However, that"s only one aspect of the album and Teenage Wrist aren"t ashamed toadmit that there"s a strong pop sensibility on the album that shows how much they"ve grown as songwriters since 2021"s Earth is a Black Hole.From the brain-invading ballad "Something Good" to the downbeat electronic vibe of "Diorama," the album is teeming with unexpected momentsthat are reminiscent of Radiohead"s ? air for experimentation.? e powerful bond between these two collaborators lies at the core of Teenage Wrist"s music and, more than any other factor, that"s evident onevery moment of STILL LOVE. "? ere was a certain feeling that music gave me as a kid and this is honestly the ? rst time on any record I feel likewe kind of came close to achieving that," Gallagher says of the end result. "We just shot from the gut on this record and tried not to overanalyzethings... and I think the record sp...

Batov Records opens another chapter, introducing "Five Seasons, the debut album of Eje Eje, the brand new solo project of Itamar Klüger, of the Satellites, presenting a fresh and contemporary world incorporating the rich diversity of Middle Eastern and Mediterranean musical styles with psych, funk, dub and other internationally known sounds.

On their self-titled debut album, Women embraced sonic brashness that deeper examination revealed to be tinted with sly pop melody.With Public Strain the band honed a sound truthful to that reverb-drenched noise while allowing the pop sensibilities to surface into clearer focus. In fall of 2009, Patrick Flegel (vocals/guitar), Matt Flegel (bass/vocals), Chris Reimer (guitar/vocals), and MichaelWallace (drums) went into the studio with an abundance of ideas,...

In 2019, Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. "Here, let me show you my idea," he says, as he places a quarter on the kid's hand. The magicianperforms some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: "Cool." The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. "When I look at it now," he says, "I relate to the kid, who's obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm." "I've watched it probably a hundred times," he says. "It cracked me up but also blew my mind open_ thefeeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what's both real and magical."Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio thatover three years, fully restored the enormous 90-year-old windows in San Francisco's Grace Cathedral. He committed to his Buddhist study, beginning lay monastictraining before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts releasedon Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego's tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices thatfelt communal and restorative."As I slowly began writing for myself again, I tried to imbue m...

Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. The project consists of Ritual Howls' Christopher Samuels (synths, samples, programming) and Kirill Slavin (vocals). Their sophomore album, Sophia Oscillations, is an immersive journey through the dark corners of post-industrial music. The Detroit based duo continues the sonic exploration started on their debut album Cleansed by Fire, while delving deeper into themes of isolation and lost communication. Christopher Samuels' synths, samples and rhythmic programming is accented by Kirill Slavin's haunting vocal delivery as the listener receives intersperse audio recordings from the outer reaches of inner space.

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

Octubre may be a record about unhealthy infatuations and debilitating love, but it's also an inadvertent statement on the past and permanence. Originally offered to the world as a surprise digital release, it might suggest a kind of ephemera, but the underlying motive is to reinvent and bring a new life to these seminal songs from the band's early years. Reimagined and reshaped, these songs not only represent the band's beginnings but also serve as a teaser for the band's future output.

Some of the most beautiful recordings of legendary American troubadour Michael Hurley's entire catalog, remixed and available for the first time on vinyl. This newly imagined version brings Hurley's voice and guitar to the forefront. We've also omitted a couple songs from the O.G version and added a completely unheard tune from the session.A masterpiece featuring all time Hurley hits like `O My Stars', `The Rue Of Ruby Whore...

Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop's breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India.miu, the opening track of Herlop's new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums - 2016's Nanook and 2018's Babasha - that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop's first full album produced on a computer, and her most intensely emotional work to date.Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop's previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects.Added to this production expertise are songs of incredible grace and poise. Kaddisch is a spectral torch song rendered in emotional 3D by Herlop's gorgeous voice; ubuntu has a feeling of deep longing and lingering sorrow; and shaolin mantis is like a pop song refracted through disorienting production effects and percussive vocal cut ups. Pripyat is the perfect combination of computer production trickery and intimate emotional release.

This collection of material shows the roots of a concept which the world knows as Creedence Clearwater Revival. John, Tom, Doug and Stu went on to tour the world and make innumerable hit discs, but these records remain a fascinating example of the birth of a band.

For the better part of a decade, LA's scrappy rock n' roll mystics Death Valley Girls have used theirmusic as a means of tapping into a communal cosmic energy. On albums like Glow In The Dark(2016), Darkness Rains (2018), and Under the Spell of Joy (2020) the band challenged thesoul-crushing banality of modern society and celebrated "true magical innite potential" through acollage of scorching proto-punk riffs, earworm melodies, far-out lyrics, and lysergic auxiliaryinstrumentation. But on their latest album Islands in the Sky, Death Valley Girls' songwritingmastermind Bonnie Bloomgarden uses the band's anthemic revelries as a guidebook to spiritualhealing and a roadmap for future incarnations of the self. And while these may be the loftiest aimsof Death Valley Girls to date, the resulting music is also by far their most infectious and celebratory.

While the previous Amen Dunes records had all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full-length, Love, is the product of close to a year and a half of continuous work. Damon McMahon (aka Amen Dunes) chose to hold the main recording sessions in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs, along with Colin Stetson on saxophone and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks. The result is definitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.

The Wedding Present 24 Songs is a 3LP w/ DVD collecting all the 2022 7" singles in one spot. A. o. featuring a duet with Louise Wener of Sleeper, full lenght versions of songs, a bonus Utah Saints remix and more extra tracks! Throughout 2022, The Wedding Present's '24 Songs' series saw the legendary indie band release two new tracks a month as double A sided 7"s, ultimately creating a much-sought-after box set. David Gedge has now re-curated full-length versions of all twenty-four tracks for a new compilation album that will also comprise five bonus recordings including one featuring The Wedding Present's first guitarist, Peter Solowka. '24 Songs' was a doff of the cap to The Wedding Present's 'Hit Parade' project of 30 years previous. That series proved to be a real milestone for the band with them becoming only the second-ever artist to achieve twelve Official UK Top 40 hits in a calendar year - at the time something that only Elvis had achieved! David Gedge says: "When it came to compiling the '24 Songs' album, I decided not to sequence the tracks in chronological order. With six sides of vinyl, you have six 'beginnings' and six 'ends' to play with, and I felt that the opportunity to build some kind of a musical journey was too good to miss! Listening back to this collection, I have to say that I genuinely believe that, for this project, The Wedding Present have recorded some of the best tracks in our history." Classic black vinyl, the DVD includedThe Wedding Present playing live during the `24 Songs Launch' event in January 2022 plus a fascinating `fly-on-the-wall' documentary filmed as the songs were being written, arranged and recorded and the video for the December single.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration. This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new. Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration. This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory. The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new. Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

Featuring contributions from Brittany Howard, Daniel Tashian (Kacey Musgraves, Demi Lovato), Julien Baker + more.Since moving to Nashville to start their music career in 2012, Becca Mancari has been lauded for their dextrous songwriting and prodigious guitar playing. Their sophomore album The Greatest Part, released in 2020, was an indie rock opus that garnered acclaim from The New York Times, NPR, and more. After its release, however, Mancari was despairing. An illness in their family, coupled with a realization that their alcohol dependency had become untenable, led Mancari to begin the hard work of taking ownership of their existence by mending broken relationships and investing in their mental health. "I didn't realize it then, but looking back, I was a passenger in my own life," Mancari says. The transformative period of self-reckoning was the catalyst that ultimately steered Mancari to write and produce their triumphant new album, Left Hand.After a disheartening studio session with an outside producer, Becca became convinced that they were capable of rendering their vision independently. Close friend and musical ally Juan Solorzano, who has played on all of Mancari's albums since the debut of Good Woman in 2017, joined them in the studio to co-produce the majority of the record. In addition, Daniel Tashian (Kacey Musgraves, Demi Lovato) co-wrote and co-produced the song "Don't Close Your Eyes," encouraging Mancari to track every instrument on the initial demos. As much as self-producing this album was an act of resilience and growth in one's own craft, Mancari brought trusted friends like Brittany Howard, who they play with in Bermuda Triangle, Julien Baker and Zac Farro into the process.Insecurities that had dogged Mancari since childhood couldn't weather the force of energy in that studio, where they executed decisions with newfound certainty. The title track, "Left Hand," is named for the Mancari family crest. After a lifetime spent feeling like they didn't belong, Mancari unlocked a perfect...

It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor_leader of the band Hiss Golden Messenger_is feeling alive. Joyful. Eternal,he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well overa decade, this is something new. "The tunes onJump for Joy were composed in freemoments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot abo...

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.

It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels. Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor. Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

The band boasts a 17-year career as a band, but the current members are the strongest lineup yet. THE Let's Go's, the spearhead of the girl's punk/rock 'n' roll band, has been touring around the country with their wild style. Their latest full-length album "kill BY POP," which was released last year to great acclaim, is now available on long-awaited LP from Soundflat Records!

Uwanosora's alias unit, "Uwanosora'67", will finally release the "Portrait in Rock'n'Roll" series on LP! The two titles will be released simultaneously on August 23rd this summer from Kissing Fish Records!! Portrait in Rock'n'Roll 2 is the second album of Uwanosora'67. This second album is a more mature version of the first album, which contains the best parts of popular music and crystallizes the world of expression and aesthetics of Uwanosora '67 more rigorously.

Uwanosora's alias unit, "Uwanosora'67", will finally release the "Portrait in Rock'n'Roll" series on LP! The two titles will be released simultaneously on August 23rd this summer from Kissing Fish Records!! The album "Portrait in Rock'n'Roll (2015)" was produced completely independently and distributed only at a limited number of stores. The style of Uwanosora's first album "Uwanosora" (2014), which was based on 70's pop music, has changed drastically, and now includes the essence of popular music such as Phil Spector, the Beach Boys, and the Niagara Sound, creating the Wall of Sound of the 10's. The overall sound is fresh, and this is the last work produced by vocalist Megumi Iemoto and guitarist and composers Hirohide Kadoya during their student days.

A classic in the collecting circuit since ages, the sole release by UK group Elias Hulk was out in 1970 on the Youngblood label. Raw hard-rock, adding some Eastern and blues-rock elements as well. Previously available on our Sommor sub-label and out of print, we present a new edition on Guerssen.

A must to anyone into ‘60s British beat and psychedelia, here’s the complete recordings of pre-YES band THE SYN, featuring Chris Squire and Peter Banks. Including their sought after mod-psych singles for Deram ('Grounded', '14 Hour Technicolour Dream', 'Flowerman'…) plus a treasure trove of rare 60s recordings, including a five-minute rehearsal excerpt of stage favourite 'The Gangster Opera’, an earlier recording of ‘Flowerman’, a pre-Deram acetate of the unissued-at-the-time ‘Merry-Go-Round’, two tracks by pre-Syn band The Selfs and more. Also including are a couple of 1974 bonus tracks from post-Syn project Narsquijack. Led by singer Steve Nardelli, The Syn formed in1966 initially as a mod / Tamla band. They soon embraced psychedelia and flower-power with some legendary theatrical shows during their Marquee Club residency. After a string of singles for the Deram label, the band slowly evolved into legendary prog band Yes.

A must to anyone into ‘60s British beat and psychedelia, here’s the complete recordings of pre-YES band THE SYN, featuring Chris Squire and Peter Banks. Including their sought after mod-psych singles for Deram ('Grounded', '14 Hour Technicolour Dream', 'Flowerman'…) plus a treasure trove of rare 60s recordings, including a five-minute rehearsal excerpt of stage favourite 'The Gangster Opera’, an earlier recording of ‘Flowerman’, a pre-Deram acetate of the unissued-at-the-time ‘Merry-Go-Round’, two tracks by pre-Syn band The Selfs and more. Also including are a couple of 1974 bonus tracks from post-Syn project Narsquijack. Led by singer Steve Nardelli, The Syn formed in1966 initially as a mod / Tamla band. They soon embraced psychedelia and flower-power with some legendary theatrical shows during their Marquee Club residency. After a string of singles for the Deram label, the band slowly evolved into legendary prog band Yes.

Originally released in 1971, the Fuchsia album is one of the best examples of British progressive & psychedelic folk-rock, full on inventive arrangements and songwriting. Produced by David Hitchcock (Caravan, Mellow Candle…) Here’s a long overdue vinyl reissue. Fuchsia was formed by a group of Exeter University students. They were Tony Durant (previously of psych band Louise) on acoustic/electric guitars and vocals; Michael Day on bass and Michael Gregory on drums plus the three-piece classical ensemble of Vanessa Hall-Smith (violin, backing vocals); Janet Rogers (violin, backing vocals) and Madeleine Bland (cello, piano, harmonium, backing vocals). Signed to Pegasus Records (the “progressive” branch of B&C Records), Fuchsia recorded their self-titled album at Sound Techniques studio with producer David Hitchcock (Caravan, Mellow Candle, Genesis, Camel…) The main inspiration for the album was Tony Durant’s readings of Marvyn Peakes gothic novels such a Titus Groan and its fictional character Lady Fuchsia Groan. Like some of their contemporaries (Comus, Mellow Candle…) Fuchsia only started gaining recognition in the following decades, thanks to fans of obscure psychedelic folk. Today, Tony Durant leads a new version of Fuchsia, still playing and recording.

Originally released in 1971, the Fuchsia album is one of the best examples of British progressive & psychedelic folk-rock, full on inventive arrangements and songwriting. Produced by David Hitchcock (Caravan, Mellow Candle…) Here’s a long overdue vinyl reissue. Fuchsia was formed by a group of Exeter University students. They were Tony Durant (previously of psych band Louise) on acoustic/electric guitars and vocals; Michael Day on bass and Michael Gregory on drums plus the three-piece classical ensemble of Vanessa Hall-Smith (violin, backing vocals); Janet Rogers (violin, backing vocals) and Madeleine Bland (cello, piano, harmonium, backing vocals). Signed to Pegasus Records (the “progressive” branch of B&C Records), Fuchsia recorded their self-titled album at Sound Techniques studio with producer David Hitchcock (Caravan, Mellow Candle, Genesis, Camel…) The main inspiration for the album was Tony Durant’s readings of Marvyn Peakes gothic novels such a Titus Groan and its fictional character Lady Fuchsia Groan. Like some of their contemporaries (Comus, Mellow Candle…) Fuchsia only started gaining recognition in the following decades, thanks to fans of obscure psychedelic folk. Today, Tony Durant leads a new version of Fuchsia, still playing and recording.

One of the Holy Grails of heavy psychedelia, originally released in 1969 by this Canadian band. Basement garage-psych meets heavy rock! Echoing vocals, crashing drums, ultra-raw distorted guitar… Bent Wind formed in Toronto in 1969. Discovered by producer Merv Buchanan while they played at a 12-hour Pop Festival in York, he signed them to his Trend label. A single was soon released, followed by the “Sussex” album in 1969. Titled after the street where the band had a rehearsal space in a building where local hippies and freaks hang out, “Sussex” was released housed in a cover designed by guitar player Gerry Ribas. According to band member Marty Roth, no more than 200 copies were pressed, making one the most sought after psych albums ever.

One of the Holy Grails of heavy psychedelia, originally released in 1969 by this Canadian band. Basement garage-psych meets heavy rock! Echoing vocals, crashing drums, ultra-raw distorted guitar… Bent Wind formed in Toronto in 1969. Discovered by producer Merv Buchanan while they played at a 12-hour Pop Festival in York, he signed them to his Trend label. A single was soon released, followed by the “Sussex” album in 1969. Titled after the street where the band had a rehearsal space in a building where local hippies and freaks hang out, “Sussex” was released housed in a cover designed by guitar player Gerry Ribas. According to band member Marty Roth, no more than 200 copies were pressed, making one the most sought after psych albums ever.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise. “Combining shoegaze and jungle was something I never thought of, but when I thought about remixing ‘How It Feels’ the song pretty much made itself,” he explains. “It’s such a sonically rich and emotionally capturing song already; the only thing I had to do was add drums that would enhance the track. I tried to create a feeling of transient energy in the song which the mix engineer, and my good friend, Reinaldo helped me to create. I hope people can shake their ass to this one.” “These remixes are an absolute dream!” concludes singer and guitarist Etienne. “Having a legend like Rudy doing this for us is very special. And also having Michael also exploring the experimental possibilities of ‘How It Feels’ is honestly such a great thing.”

Lorelle Meets The Obsolete’s sixth album was recorded at their home studio in Ensenada, Baja California, it was mixed by Jace Lasek of The Besnard Lakes and mastered by Mikey Young of Eddy Current Suppression Ring and Total Control. It’s a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hiphop of Dälek and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell’s Vernal Equinox. "The ‘in the room’ feel is one of the things I’ve always loved about The Besnard Lakes’ records,” says guitarist Alberto González. “And Jace brought that to Datura. The only note we gave him was ‘we want this album to sound big and aggressive’.” It worked – perhaps unsurprisingly for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. "We liked the idea of a flower that opens at night,” says singer and guitarist Lorena Quintanilla. “A type of Datura grows all over the neighbourhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places.” A bit like Lorelle themselves, then. We last heard from them at the start of 2020, when they had to crowdfund their way home after being stranded on the road in the US as Covid lockdowns came into force. As life returned to normal, they started playing shows again, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with Suuns. Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.

Deluxe Edition of My Morning Jacket's GRAMMY-nominated 6th studio record, Circuital, features the original album plus 10 unreleased demos. Rolling Stone wrote in 2011, "Circuital feels like the culmination of the sonic adventures that began with 'Z' - while also capturing the power and dynamics that have made MMJ one of the greatest live bands of their generation." 3 LP set pressed in 3 limited edition colors (distributed at random) and housed in a glow-in-the-dark jacket with fold-out poster.