Tape Sale 143 Items

Moments of eternity: the first plucks at the strings, a bass note cementing the drift into place a little more than a minute in. The organ drones, iterating unrelivable ancient history, a chiming note of the church. Guitars strings, climbing that stairway to heaven. Gossamer-light when viewed from a distance; up close, the gears grind with a visceral physicality. With Bcmc, Cooper Crain and Bill MacKay unite to create Foreign Smokes: provocalogues, equal parts avant-garde noir and fire-and-icy jams to recall bright shades and warm stretches of infinity drawn through the buzzy overdrive of this side of life"s strange and sunny days. Cooper"s organ and synths and Bill"s guitar draw songs from spontaneous statements and elegiac scraps, floating closer, then farther, and closer again to the sounds of the other. Starting with a melody, as set of progressions or even as little as a scale or just a key, gives room for either one of "em to take the lead, depending on where they are or are going at any given time. The reigning motif most often seems to be, to melt and wind around each other"s sound, part of a singular undulation, handed back and forth, a slowly emerging trip up into and through an ideal of exuberance.

Hazy, gentle almost euphoric explorations and improvisations made in Leeds and Manchester throughout 2019 and 2020. Sam and Chris understand, lean in to, and translate those wonderful relationships and historic personal moments that smudge in to your DNA forever. Their language is of classic genre playing and hardware samplers, and they’ve made a record about low down personal shit; our deep trauma, beautiful platonic love, isolation, connection, it's all there; Blunches look and listen to the world around them and have created their own version of it. It’s like those summers watching skate videos, feeling upset all the time, getting into bed at 4am, being with your mates, just getting through it. This record doesn’t have a lyric in it, yet it speaks to me as a kid from a grey-ass town as clear as any pop song ever has. I dare you to play this and not feel it.

Riyl/ffo - 90s skate videos, jazz, hop hop, fourth world, Eno, Hassel, Sanders

Around the Songster's Commune was made quite quickly and purposefully without a lot of fuss -- made to preserve the spirit of its making -- at Diana Duta's generous Jambes studio in Brussels. It's a collection of meditations: compositional fragments, whimsy ditties, field recordings and (live/d) experiments with troubadour song-making methodologies. It's a sonic drift -- sonically drifts. Here, Bergur seems to be exploring the looseness of world-making. Or, maybe better said, exploring how loose he can get with world-making and the realization of sonic realities. Exploring how unconscious, how trusting of himself, as an artist/composer/sound-maker/human, he can be. (Katrina Niebergal)

The tenth studio album by Bjork on cassette tape.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Sorrow Wave duo BRING HER return with their second LP and first album since 2019, Comfort In The Shame. Based out of Pittsburgh, BRING HER play a distinctive brand of somber darkwave, defined by haunting and magnetic vocals over pounding and obsessive drum machines, penetrating guitar chords, and eerie and harrowing synths. Using DIY recording methods coupled with sound shaping, heavy layering, and meticulous editing the new album sees the two-piece at a new height, adding to the urgency and crushing weight of their already brooding sound. Elements almost industrial in nature shine through these 10 new tracks, yet the duo stays as gloomy and dismal as the self-described Sorrow Wave moniker implies.

Cashier is a band from Lafayette, LA that plays a washed out, fuzzy blend of shoegaze & indie rock. This two song cassette captures a unique ebb and flow between sonic intensity and harrowing urgency with melancholic flare and a DIY attitude.

Released only a handful of months following the band’s breakthrough debut EP, Remove Your Skin Please signaled that whatever Chat Pile was doing wasn't just a one-off novelty of Midwest metal nihilism. While the band’s foundational sound of caustic and cacophonous noise rock crystallized with its debut, the release of Remove Your Skin Please signposted the vast extent to which Chat Pile could stylistically tinker and conceptually iterate atop it. Heard in the gothy post-punk dirge of “Mask” and the dissonant extreme metal fervor of “Davis'', the more experimental ideas present on Remove Your Skin Please come off less like a selection of the band’s conceptual prototypes and more like fully realized reflections of its member's own tastes and preferences. That doesn’t mean Chat Pile’s noise rock foundation is diluted in the slightest as EP bookends “Dallas Beltway” and “Garbage Man” push its twisted take on the genre to new aural extremes in its instrumentation and subject matter spanning grisly serial murders to the slow festering death of the environment at the hands of mankind. For as ugly and unhinged as Chat Pile’s tales of 21st-century American dread are, Remove Your Skin Please asserts something that is somehow subtly even more terrifying: If a quartet of otherwise ordinary Okies can convey such apocalyptically bleak yet resonate messages in its music, that may mean we feel that same nihilism, too.

In the summer of 2019, a newly formed, Oklahoma City-based rock band called Chat Pile would release its debut four-track EP, This Dungeon Earth. Little did anyone know at the time, but this initial taste of grotesque, confronting, and visceral noise rock courtesy of four slacker Okies would kick off the story of what would soon be one of the most widely lauded underground acts in years. Like the towering mounds of toxic waste from which it gets its namesake, Chat Pile’s body of work is emblematic of a distinctly midwestern flavor of American dread, with This Dungeon Earth being no exception to the rule. While raw in presentation, Chat Pile’s debut EP comes across as anything but a rough draft. Much of the band’s hallmark traits, spanning the unhinged vocals of frontman Raygun Busch, the grotesquely contorted guitar riffage, and the industrial smack of heavily processed percussion, appear as far back as this earliest chapter. If anything, the raw, DIY-rooted origins of these uncompromising thirteen minutes of sludged-out carnage make This Dungeon Earth all the more impactful. Between its biting social commentary and gratuitous grindhouse insanity, the unfiltered brutality of Chat Pile’s debut recording has seen tracks like “Rainbow Meat”, “Face”, and “Ratboy” become mainstays in its notorious live shows. Although it depicts the band’s monstrous amalgamation of noise rock, sludge metal, hardcore, and more as it is just beginning to congeal, This Dungeon Earth comes off as the furthest thing from a simple intro and more of an essential first chapter in Chat Pile’s story.

Hear Current Joys tear through a live set of fan favorites recorded last winter at Kilby Court in Salt Lake City, Utah. This 14 track set is the first time one of Current Joys' visceral live performances has been captured for vinyl and released digitally online. The four-piece plays full-band arrangements of Current Joys classics like "Blondie" "Kids" and "My Motorcycle" as well as a new unreleased track "Altered States."Recorded February 22, 2019, at Kilby Court in Salt Lake City, UtahGuitar & Vocals: Nick RattiganKeys & Vocals: Maddy BoydBass: Aaron JassenoffDrums: Jackson Katz"Current Joys (and its former incarnation TELE/VISIONS) is the quiet and affecting solo project of Nick Rattigan (...) You can affix it with any number of labels - minimalist bedroom pop, spare indie balladry - but whatever the assignation, the music is devastatingly pure. (...) Current Joys is the rare project that manages to transcend its simplistic trappings and achieve something like musical grace. " [Alex McLevy] - AV Club "Nick Rattigan sings and plays drums in the surf-rock band Surf Curse, but he's been doing more and more with the solo bedroom pop songs he writes under the name Current Joys. Propelled by sinewy guitar lines and sweeping synths, songs like "Fear" reflect on the underbelly of modern life without resorting to self-pity. " [Stephen Thomson] - NPR Music

This tape is a prison tape made for inmates of prisons in the USA. It comes without screws and without an inlay as it should be. Manufactured in 2012 or 2013.

mix of the latest in hip hop - feat. Quasimoto, Dave Ghetto, Non Prophets & Slug, Tame One and more!

The good doctor is finally back to flip us on our backs and give us the old one-two-three-four, following a cassette I only knew about and listened to death and onto rebirth after hanging with the boys in Marseille.

These new-age space cowboys take us to the other side of the galaxy with a space shuttle of punk-fuelled psychedelic country… and drop you off into a black hole. The riffs bring the good news of the apocalypse to the new world from the one they left behind. US Maple lightsaber guitars fighting in a Uranium Club? Singer running out of oxygen.

References aren’t required anymore, just like when you hired VHS from the local video store. Take the risk, take the plunge, form an opinion yourself… get your money’s worth, tell me to go to hell and stop reading this.

If Captain Beefheart kept playing punk music and joined Marbled Eye or something, wearing modern, youthful clothes with an iPhone to hang out with some of the deranged, loveable, lust-for-lifers of Leipzig, maybe it would sound like this, but only after pulling him apart and putting him back together as robocop with a country teasers bumper sticker on his metal arse.

Why hire VHS when you can see their amazing video clips, which look like they’ve been directed by Giuseppe Andrews... Doc Flippers are trailer trash cooking bratwurst on top of flaming oil drums... crazy homeless, performance art punk rock.

DSC is a music-graffiti crew based in Greece since 2006.
Wa(bbnz) is on the drum machines and dj mechs on the wheels of steel.

"Fonky science" is our debut LP specializing in jazzy beats with a
boombap-chill essence and funky mechanical cuts.
Sit back relax and enjoy..ONE LOVE!

All the beats produced by Wa (bbnz)

All the cuts performed by Mechs

Mix & Programming by DSC

Cover art by Themis Dervenjas (only graffics)

Edna Martinez pays a heartfelt tribute to her birthplace in Valledupar with another entry of Cintas Elefandes- a colorful showcase of Vallenato, the passionate, accordion-driven genre that spreads from the tributaries of the Cesar river in northern Colombia. A bittersweet mix that sits just right with an open bottle of rum, or the soul remedy of your choice.

Limited to 100 tapes. "We Do Good" is an energetic and soulful boom-bap hip-hop album by the legendary artist Edo.G, that pays homage to the classic sounds of the genre. The album features powerful and thought-provoking lyrics that touch on a range of topics from social justice and inequality to personal struggles and triumphs. The beats are expertly crafted with intricate drums and smooth samples that showcase Edo.G's production skills with additional production by Curt Cazal, Geronimo X, Torch and others. The album is a celebration of the power of music to inspire change and uplift communities, and it's sure to leave listeners feeling empowered and motivated to make a difference in the world. With its infectious energy and powerful messages, "We Do Good" is a must-listen for anyone who loves hip-hop and wants to experience the authentic sound of boom-bap, as delivered by one of the genre's most respected and talented artists, Edo.G. The title also spells out Edo.G

Song In The Air is Elliott’s third fulllength album. But for all of its beauty, energy, and human spirit, Song In The Air is not Elliott’s moment of finding “the answer.” What we have is a record that shows us the value of the moment of asking the question...of looking at a thing and figuring on it. Elliott’s songs glow, spiral around, get messed up, come back home, get really sad, get worked up, fight against melancholy, are pissed off... they are “alive.” Song In The Air is the first record that Elliott made with the addition of Benny Clark on guitar and Jason Skaggs on bass.

Inspired by films he grew up watching and a passion for vintage recording equipment, Eyot Tapes has crafted ten pieces of music recording only to cassettes, using cassette loops, spring reverbs, tape delays and a modular synthesiser. Weaving in and out of different moods, with ‘Edgar Rice Burroughs’ stories never far from his mind, he takes you on a trip through an off world, tropical fantasy.

Fiendsh returns to Cold Busted with Hayashi Reborn, the Bangkok-based producer’s long-awaited follow-up to 2016’s To The End. The title refers to the Hayashi, a group of instrumentalists in Japanese Noh theater. Noh often revolves around themes of life, so with this album the Fiendsh alter-ego takes on the role of the Hayashi of the young beat-producer’s life. The album’s sounds are introspective and rich, combining deep rhythms and warm melodies. Sometimes a hint of Fiendsh’s Thai culture drops in, but mostly the influences are straight from the well of hip-hop, soul, and jazz classics.

La La Land doubles down on the intricate proggy-pop displayed on Guided By Voices’s last album Tremblers And Goggles By Rank. On a hot streak of critical acclaim, Robert Pollard continues expanding his songwriting towards extremes of prettiness, heaviness and poeticism. As always, unforgettable hooks are everywhere. But with thsi latest, it seems Pollard is playing with the extremes of his abilities as a songwriter, emboldened by the power of this lineup now on their fourteenth album together since 2017. The prettiest stuff is prettier than ever (“Queen Of Spaces”) and odder, more complex songs like “Slowly On The Wheel” combine minimalism, whimsy, and cinematic inclinations. There are the exquisite power pop bangers that fans come to expect like “Ballroom Etiquette” and “Pockets.” Tracks like “Instinct Dwelling” and “Caution Song” effortlessly display a cranked-up weight and complexity most bands could never muster. Celebrating forty years in 2023 with their thirty-eighth album, GBV has lately been garnering rave reviews from Rolling Stone, Stereogum, Brooklyn Vegan, Uncut, Mojo, Shindig, Paste, Popmatters, The Quietus and many more.

Somatic Suspension is the new album from Stockholm based Spanish composer and pianist Hara Alonso. Emerging from a classical contemporary background, her current work fuses electronic and instrumental music along with interactive works. Composed at the EMS studios is Stockholm, Somatic Suspension arises from a meditative process of introspection and inward listening. This work attempts to translate various somatic experiences into the sonic plane through the exploration of gestural repetition in a biofeedback continuum. The piano used, an electroacoustic Yamaha Cp-70, is a rare instrument with a piezo pick-up system, outputs, a built-in equalizer and a tremolo effect. It’s unique sound quality invoked the overall atmosphere of the album, sustained like a winter forest covered by scattered golden leaves. The digital processes that accompany the piano dissolve its pure sound into a mesmerizing superposition of layers and glitches. Intimate melodies, minimal electronic beats and teared textures merge together echoing the memory of an uncertain future. File next to: Klara Lis Coverdale, Ryuchi Sakamoto, Alva Noto, Kelly Moran Released on March 5th on white cassette & digital

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

Live From The Gonsch showcases Sydney head (and O.T.I.S. label boss) Hugh Burridge aka Hugh B’s lesser known domestic dub mode, low-slung and low volume, tracked on headphones during hidden hours, often with his daughter strapped to his chest. The album’s eight cuts are built from rhythmic modular loops layered with snaky bass, swampy guitar, and occasional hazed vocals, dub-mixed to 2-track cassette through hand-built FX (Burridge runs a boutique delay pedal business). The mood throughout is loose, soupy, and slippery, shaded in echo and spring reverb, glimpsed through tall grass.

The title alludes to Burridge’s recently retired Skylab radio show, “Mornings From The Gonsch,” which repped a spectrum of home recorded modes, from bedroom dub to hybrid new age to lost synth songcraft. Here he blends these muses into a woozy fusion all his own, dub-adjacent daydreams of time, money, stasis, and absence, hummed and half-heard beneath a bleached blue sky.

A short visit to the Indochinese Peninsula at the wrong time of the global pandemic breakout, led Ian Richter to over a year and a half of living in Vietnam, and to a deep love affair with the Vietnamese folk religion. Ian was intrigued to find a place drenched in culture and mysticism existing hand in hand with hyper capitalism (yet officially committed to socialism). Over the course of the last 18 month Ian recorded, mentally and physically, the sounds of his encounters and experiences. From daily life, through industrial and natural landscapes, to ancient and modern dance, forging foreign with familiar, mysticism with science, and claustrophobia with liberation.

Only tape 2!

Jester Jacobs on the mic Formz on the beats

"Fabric played a huge role in shaping me as a music fan and years later became the London home for me and my label. This wouldn’t have happened without the help and support of Shaun Roberts, who left us far to soon in Dec of 2022 after an 18 month battle with colon cancer.

When the Never Sleep crew asked me to contribute to their mix series I knew id like to honour Shaun and help raise some money for Bowel Cancer UK.

Without Shaun and people like him taking chances on people like me the music landscape would look very different.

This is mix is taken from the Critical Sound 15th birthday event in 2017.

Shaun Roberts RIP x."

With features from world-class soul singers such as Ben Westbeech and Toumo, the good vibes on Early Believers are unparalleled! Catchy hooks elevate the smooth, nostalgia-inducing flows of Kero One, making this an album more than worthy to follow up Kero One’s legendary debut. Featuring both the artwork from the Japan-exclusive CD, and the Japan-exclusive bonus track “When The Sunshine Comes (Cradle Remix feat. Anan Ryoko)”, this album has never looked, or sounded this good! Get Kero One’s Early Believers on cassette tape, from P-vine Records!

The golden standard of Jazz-Hop! Windmills of the Soul, California-based producer/rapper Kero One’s 2005 debut, is finally getting a long-deserved analog reissue as a 2xLP set! Lead single “In All The Wrong Places” sampled jazz pianist Ahmad Jamal’s “Dolphin Dance”, combining it with hip-hop beats and smooth rhymes to define Kero One’s iconic west-coast Jazz-Hop sound.16 years after its initial release, the album sounds surprisingly fresh, truly illuminating Kero One’s undeniable influence. With DJ Mitsu The Beats’ Japan CD-exclusive Bonus-track “My Story (DJ Mitsu Remix)” on cassette for the first time ever, this is a reissue you absolutely must not miss!

Limited Edition cassette …. 100 copies ‘Your Job Is To Make Art’ is built for the floor, four slamming techno takes, plus remixes from labelmate Swarm Intelligence and Manchester’s Kander. Drawing influence from the Manchester scene, but written in the isolation of rural, north-west England, Kontain’s debut EP is rhythmically relentless, buoyed by trippy vocals and distorted percussion, each track lands hard. From the artist: “Training and competing in BJJ, this EP is almost a soundtrack to the constant mental & physical assault. High energy, constant tension.” “It’s better to be stomped by the bull than up in the stands” Mastering by Joe Farr

Original Tape from the crates of Kutmasta Kurt

100 Hand Numbered Tapes on Clear Night Blue Shells!

Lair returns to Eotrax with a new 4-track EP. Following her 2017 self-titled debut EP, releases on Urban Legend and Rhod Records as well as collaborative projects in the visual arts and dance she returns to Eotrax to release I Hurt So I Cry this summer. Created using elements of sound healing and sacred sound I Hurt So I Cry can be engaged with from a purely musical perspective or listeners can take advantage of its sound healing qualities and use this EP as an active sound bath- active in that the listener intentionally uses the music to support them in going within and releasing, resting and restoring their body, nervous system and heart. As with all Lair’s work, the music is composed using only her voice with one exception, a sampled cello in the EPs first track Foreshadow. This brooding opener inhabits the dark ambient world we've come to expect of her music but as the EP unfolds ethereal vocal lines mix with her darker sound and a new, lighter sound world is revealed. In the artist’s words: “A shadow falls across our lives, we hurt so we cry, the feeling starts to shift and from that shift hope can spring." Both intimate and expansive, the tracks create a feeling of existing outside time. Lair’s profound connection to nature can be felt through all the tracks - at times in a deep cavern, at times moving through an elvish forest and at times in an Otherworld. Released on June 29th on red cassette & digital with artwork and design by Goldmoth Media. Mastered by Dominic at Declared Sound.

The Menu is a 16 track album by Leaf Dog & BVA. The album features M.O.P and Keith Murray with most of the production done by Leaf Dog but featuring production from Illinformed and Stevi Beats

Brilliant album from the legend LeRon Carson on Sound Signature. Raw dusty early Chicago flavoured house in the same style as his previous 12's on Sound Signature and early Virgo 4.

Featuring Krisengebeat

Long Drag spent the Winter of 2022-23 recording their third release, One Snake Smarter Than Us All. A punk band that puts their effort into crafting songs with depth, and thought. Long Drag dives into humanity with compassion, and a desire to better understand ourselves and others.

Produced by Jeff Kleinman (Beyoncé, Frank Ocean, FKA Twigs), Life on the Edge of You finds Lontalius aka Eddie Johnston elevating his intimate, confessional indie-folk songwriting across a new musical landscape. The pair had worked briefly in Los Angeles in 2017, then over the pandemic took to trading files from opposite ends of the word, building tracks in a surprisingly fruitful collaboration melding alt-indie with flavors of hip-hop and R&B.

Raised in Wellington, New Zealand, Lontalius embraced making music since getting his first guitar at the age of eight, and spent his preteen years honing his craft in his bedroom with all the resources of the internet at his disposal. After uploading intimate covers of pop songs from an eclectic range of artists, from Crowded House to Beyoncé to Yung Lean, to fanfare on YouTube and Soundcloud, Johnston released his debut LP, I’ll Forget 17, in 2016 on Partisan Records.

His subsequent albums, 2019’s All I Have and 2020’s Someone Will Be Here For You, have followed in its acclaimed footsteps, attracting over 110 million streams and over 650k monthly listeners on Spotify, alongside collaborations with Grammy Award winning producer Om’Mas Keith (Frank Ocean, Erykah Badu) and Jim Fairchild (Grandaddy, Modest Mouse).

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

The day after Christmas, December of 1972: Lou Reed and band (The Tots) in Hempstead, NY, recording live for radio at Untrasonic Recording Studio. Recorded just a month after therelease of Transformer, the set finds Reed pulling from the new record, riffing on five Velvets tracks and the penultimate “Berlin” – the track that would title his next release six months later.

*Available: August 26, 2022*

“To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant... yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” - *Will Hodgkinson, Mojo*

Light in the Attic Records, in cooperation with Laurie Anderson, proudly announces the inaugural title in their ongoing Lou Reed Archive Series: Words & Music, May 1965. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a 'poor man’s copyright'—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music - from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.

M.A.V and Pete Twist connect to bring you “Long Story Short “ with guest spots from Eto, Eddie Kaine, Estee Nack , Ambassador Rick and Jay Royale

Formed by Toronto DJ/ producers K.Cut, Sir Scratch, and Brooklyn MC/producer Large Professor, Main Source was one of the seminal groups of the East Coast’s hip-hop scene in 90’s. The original trio’s first and only album Breaking Atoms, was released in 1991 to critical and commercial acclaim, before Large Professor left the group. They recorded a second album, The Science, and even ran ads for it in The Source, before the group’s breakup led to its indefinite shelving. Until now! P-vine Records is proud to announce that we’re giving The Science its long deserved official release, almost three decades after it was initially set for release. This gem among gems of 90’s hip-hop, which had never seen so much as a bootleg release, is going to be released on CD, Analog vinyl (1xLP and 1xLP+7 Inch), and cassette tape. With tracks such as “Bootleg”, “Raise Up, “Time (Alternate Mix)”, and “Hella Vision”, taken from master tapes owned by the three original members, as well as well-loved classics like “Fakin’ The Funk” and “How My Man Went Down In The Game”, this record is sure to be killer. Large Professor’s flows are as smooth and lyrical as ever, and the sample-heavy beats that the producers lay down are supreme. Trust me when I say, that this is one record you’re not going to want to miss.

"28/4/23" captures the atmospheric live performance of Swedish composer Mats Erlandsson at Fylkingen, Stockholm on the 28th of April, 2023. With exceptional delicacy, Erlandsson guides the audience through his signature electro-gothic soundscape of continuous tension; 40 minutes of processed field recordings, zither, feedback and Serge modular synthesizer.

Cyanotype prints and woodcut by Håkan Jonson. Released in an edition of 90 copies.

Experimental And Improvisational Psychedelic Rock, For Fans Of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers Arguably Are The Perfect Band For All The True "Heads" Out There. The New Haven Quartet Have Been At It For 15 Years, And The "Newest" Lineup (Now At It For Well Over A Decade; Vocalist/Guitarist Dan Greene, Bassist Rick Omonte, Guitarist Kryssi Battalene And Drummer Ross Menze) Have Firmlygrasped What It Takes To Fry Brains; Achingly Beautiful Melodies Buoyed By A Life Raft Of White-Hot Guitar Scree And Mind-Melting Feedback. "World What World" Is The Band's Eighth Album And Third For Trouble In Mind Records. "World What World" Is The Newest Chapter Of The Group's Continued Explorationsand Efforts To Refine Their Sound. The Lyrics Of "World What World"S Songs All Imply A Protagonist On A Quest; The Title Itself Is An Implied Query With No Question Mark; Is It A Question, Or A Statement?. The One-Two Punch Of Opener "I Wanna See The Sun" And "Final Sunset" Lay Out What's In Store; Crazy Horse-Inspired Sandpaper Melodies Sit Comfortably Next To Improvised, Psf-Influenced Six-String Ragers. The Group Performs Together Effortlessly And Telepathically, Subverting The Loud/Quiet/Loud Dynamic That Has Saturated Independent Music Since The Late-Eighties. The Loud Parts And Quiet Parts Are Like Waves; Indistinguishable From Each Other, Creating A Fluid Dynamism And Intensity That Swallows The Listener Up Inits Current, Sweeping It Toward Oblivion. Hyperbole, You Say? Watch Out For Midway Through "Then The Moon" When The Tune's Lilting Waltz Pivots Into A Casually Blistering Solo By Battalene Before Fading Into The Melancholic "Haunted Eyes" -Beckoning You With A Mournful Sidelong Glance. Side Two Opens With "Staggering With A Lantern", An Elegant, Lumbering Instrumental Improvisation Again Showcasing The Synergistic Shredding Of The Group's Guitarists. The Sticky Lyrical Hooks And Sideways Jangle Of "Way Back To The World...