1.20 & 1.27 New Release Book

How did you personally get started in the music industry?

My background lies mostly in the visual arts. Strictly speaking, my first encounter with music as an industry was when I worked as a set designer at a German music television station, aged 19 — creating bespoke spaces for interview situations with popular artists; possibly one of the most underappreciated lines of work in an industry that was mostly off-putting. But I didn’t mind as I was young and mostly left to just doing my thing inspired by the music itself, which had always been my best companion for as long as I can remember, and it still is. I do recall the occasional exception, where kind folks like Beck — surrounded by manikins in a completely neon room — would take note and comment on my contributions in that they felt like they were sitting right inside of their record, or when Bootsy Collins wanted to purchase the star-shaped sofa I designed off the station, which was pretty surreal.

When and where did the label begin?

The company was founded in London on February 5, 2007 to be precise. But it all began online really.

What is the meaning behind the name for the label?

In this digital age where everything is recorded and can usually be undone, there’s actually something really quite beautiful and poetic about the sentiment that nothing lasts forever. To me Erased Tapes expresses perfectly how precious every moment is, that fine line between something existing or not existing.

How has the label changed since it started?

In the beginning it was mostly a virtual space in that most of us, artists and audience alike, connected over the internet in the age of MySpace and SoundCloud. I’d skype with Óli in Iceland during sleepless summer solace nights or exchange ideas over email with World’s End Girlfriend in Japan when all of a sudden an earthquake hit his room. And so some artists I would not meet in real life until months, sometimes years later. And it wasn’t until around our 5th anniversary tour that it all started to feel like a proper physical community, as we’d get the chance to experience and make music live together in a shared space. The community around the label has grown exponentially since, with us taking over the BBC Proms in 2015, opening our own event space in 2017, hosting recording sessions with all artists participating and collaborating with each other, and most recently curating our 15th anniversary festivals in London, Berlin and beyond. It’s those moments when we get to witness and share experiences with others that form the soul of the label.

What has been the biggest challenge for you and the label during the Pandemic?

My main focus went towards strengthening our publishing arm in order to help sustain our less established artists who struggled with the lack of live performances, not to mention the psychological impact the loss of connectivity had on their creativity.

Is the label tied to a specific geographical area? How is this reflected in your releases?

Even though most of us are based in London, we still feel equally at home in Berlin where we had a satellite office at times, and we have a strong connection to Tokyo, Montreal, New York and L.A. due to the presence of external team members there. In the early years some people even thought that the label was Reykjavík-based, simply because of the success of a specific artist or our repeated presence at Iceland Airwaves. And that strangely also feels accurate, because in truth the label started online, born out of a subterranean bedroom with artists joining from all around the world, and most of our output being instrumental with no language barriers. Which explains why we have such attentive, beautiful audiences in all corners of the world, for which we are eternally grateful.

Where do you go to search for new music? Who or what has been a new find you’d like to rave about?

One of the most important elements to my work is that I maintain the freedom to explore the unknown at a natural pace. I have to make an active effort to protect that antenna. Which is why I prefer to discover sounds without any set method in place. I like to experience music live, especially site-specific, local music when traveling, and then bring all these new discoveries back with me to share with others. Not necessarily through the label but also via my radio show that I’ve been doing for more than six years, or simply by playing records to my artists and friends. My most recent discoveries were at Le Guess Who? in Utrecht which is a fantastic artist-curated and very diverse festival. I’m still processing it all… My other favourite festival is Big Ears in Knoxville through which I re-discovered The Art Ensemble of Chicago joined by Moor Mother, which resulted in us releasing their 50th anniversary album. I also love nothing more than to sit down with a friend and listen to whatever they are excited about.

Is there a genre that you would consider to be the label’s “signature style,” or is it a mix?

Erased Tapes is and will always be a genre-defier.

We know you can’t choose, but what’s been your favorite label release, and why?

Well if I had to choose, it’s most likely going to be one of the collaborative projects. Our 10th anniversary recording project 1+1=X comes to mind, or Trance Frendz by Ólafur and Nils due to it being mostly improvised, less over-laboured and more spontaneous with very unexpected results for all involved. Because following each other into the unknown is often the most exciting dance, and the whole is usually greater than the sum of its parts.

In your opinion, how important is it to be environmentally sustainable within the music industry these days?

We’ve been making a conscious effort to avoid any unnecessary use of plastics from day one, opting for cardboard sleeves over jewel cases, often using recycled paper stocks. It’s so important to encourage mindfulness in regards to both physical and digital music consumption, because a lot of people aren’t aware of the consequences.

How important are issues like mental health and social justice to you and the label?

Giving each other a safe space to be and express ourselves is one of the most important things we can do to contribute to a better world.

They say our sun will explode in about 5 billion years or so- how would you like the label to be remembered?

One of my favourite things is to forget. It gives an opportunity to rediscover it all over again from a slightly different point of view. And isn’t that beautiful?

Flora Purim - If You Will

Grammy Nominee - Best Latin Jazz Album 2023

“A nimble, inventive vocalist steeped in the mystical ” (New York Times)

“The first lady of Brazilian music is back with a celebratory album that keeps it in the family A well polished gem ” (The Observer)

The music of Flora Purim has been a cornerstone of fusion and Brazilian jazz for over 50 years.

Her once-in-a-generation six-octave voice has earned her three Grammy nominations: two for Best Female Jazz Performance and, for the forthcoming 2023 Awards, Best Latin Jazz Album for ‘If You Will’ (Strut Records). She has also won Downbeat Magazine's Best Female Singer accolade on four occasions

Her musical partners have included Gil Evans, Stan Getz, Chick Corea, Dizzy Gillespie and her husband Airto Moreira, with whom she has collaborated on over 40 albums since moving with him from her native Rio De Janeiro to New York in 1967 In New York, she and Airto became central to the period of musical expression and creativity which produced the first commercially successful electric jazz groups of the ‘70s

Flora then became instrumental in opening the world up to new directions in jazz, linking up with Chick Corea, Stanley Clarke and Joe Farrel to form the group Return To Forever in late 1971 She contributed to some of the greatest recordings of the 1970s, collaborating with and contributing vocals and arrangements to Carlos Santana, Hermeto Pascoal, Gil Evans, Chick Corea, Dom Um Romao, George Duke, Herbie Hancock, Milton Nascimento and many more

During the mid-‘80s, Flora and Airto resumed their musical partnership to record twoalbums for Concord - Humble People and The Magicians - for which she received Grammy nominations In 1992 she sang on two Grammy-winning albums - Planet Drum with the Grateful Dead drummer, Mickey Hart (Best World Music Album) and Dizzie Gillespie’s United Nations Orchestra (Best Jazz Album). In September of 2002, Brazil's President, Fernando Henrique Cardoso awarded Flora Purim and Airto Moreira the "Order of Rio Branco", one of Brazil's highest honours

Praise for "If You Will"

Editor’s Choice: “One Of 2022’s most exciting releases to date.” Jazzwise

“

Undimmed vocal prowess from a Brazilian jazz-pop legend.” Uncut

“A reconsideration of what’s come forward and a confident step forward.” The Wire “Bursting at the seams with undeniable class.” Shindig

“Flora Purim is jazz royalty” Bandcamp Daily

“Flora switches at will from focused explorations of the lyrics to swooping, ecstatic, wordless cartwheels in the air.” Jazziz

On July 13, 2006 the Drive-By Truckers set up shop at Plan 9 Records in Richmond, VA. It was the 25th Anniversary of the store. The band performed to a packed house and played a blistering set of fan-favorites featuring the songs, “18 Wheels of Love”, “Let There Be Rock”, “Goddamn Lonely Love” and “Daddy’s Cup.” The performance was also set up to benefit the Bryan and Kathryn Harvey Family Memorial Endowment. The foundation provides, among other things, music scholarships in the Richmond area. Lead vocalist and songwriter, Patterson Hood ended up writing the song “Two Daughters and A Beautiful Wife” about Bryan Harvey and his family.

Following the release of this record on 2020 RSD Black

TRACK LISTING

SIDE A

Tales Facing Up (5:32)

One Of These Days (5:17) Easy on Yourself (3:41) Feb. 14 (3:35) Aftermath USA (4:15)

SIDE B Gravity’s Gone (3:34) Sink Hole (3:44) Outfit (4:33) My Sweet Annette (4:44) Marry Me (5:54)

SIDE C A World of Hurt (6:15) Why Henry Drinks (5:02) The Day John Henry Died (4:28) Wednesday (4:52)

SIDE D

Shut Up And Get On The Plane (4:25) Ronnie And Neil (5:34) Moonlight Mile (4:48) Let There Be Rock (6:06)

SIDE E Zip City (5:38) Goddamn Lonely Love (6:01) 18 Wheels of Love (8:54)

pressed on

for the first time. The updated packaging includes original artwork from acclaimed artist and long time collaborator, Wes Freed. Now available on CD for the first time as well.

SIDE F Nine Bullets (4:30) Daddy’s Cup (6:02) Decoration Day (6:34) Lookout Mountain (5:13)

Vital entries in the Sun Ra discography, available on vinyl once again.

Artist: Sun Ra

Title: Singles: The Definitive 45 Collections, Volumes 1 & 2

"Strut offers a richly researched and smartly sequenced compilation of all of Sun Ra's singles, offering a compelling and unique look at the cosmic jazz innovator’s genius " 8.7 (Pitchfork)

The long out-of-print definitive collection of singles released by jazz maverick Sun Ra during his Earth years, spanning 1952 to 1991 Released prolifically during the 1950s and more sporadically thereafter, primarily on the Saturn label, the 45s offer one-off meteorites from Ra’s prolific cosmic journey, tracing the development of his forward-thinking “SpaceBop” and his unique take on jazz and blues traditions which sounded unlike anything else from the period

Released as two separate 3LP gatefold sets. All formats include rare photos and extensive track by track notes and session details by Paul Griffiths

Sun Ra: The Definitive Singles Volume 1 Catalogue Number: STRUT148LP

Sun Ra: The Definitive Singles Volume 2

Catalogue Number: STRUT149LP

Format: 3LP Gatefold Barcodes: 730003314919

Artist: Sun Ra and his Arkestra

Title: Marshall Allen presents In The Orbit Of Ra

"iI's impossible to fault this collection's impeccable credentials This compilation does a far better job of presenting the scope of Sun Ra's music than any other that has gone before " (The Quietus)

A 2LP set granting intimate access to the inner sanctum of the Arkestra Liner notes featuring recollections and contributions from some of the core Arkestra line-up including Marshall Allen, Michael Ray, Knoel Scott and Danny Ray Thompson The musical selection takes us through the huge variety and intricacy of the Arkestra’s work covering the ‘60s to early ‘80s, as well as several exclusive previously unreleased Sun Ra track from the Art Yard archives

Catalogue Number: STRUT109LP

Format: 2LP Gatefold Vinyl, Barcode: 730003310911

Artist: Sun Ra

Title: Discipline 27-11

A bona fide Sun Ra classic, 'Discipline 27-11' was recorded by Impulse! producer Ed Michel in October 1972 at Streeterville Studios in Chicago and involved the largest Arkestra lineup Sun Ra had ever taken into a studio session The recordings spawned two albums, the celebrated 'Space Is The Place' and 'Discipline 27-11' which would remain its rather mysterious occult twin. Official reissue remastered from the original tapes.

Catalogue Number: STRUT146LP

Format: 1LP Barcode: 730003314612

For more information, contact Adam Calman: adam@k7 com weblink: strut-records com

Street Date: 1.20.23 | Order Date: 12.30.22

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Street Date: 1.20.23 | Order Date: 12.30.22

798576140397

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781484310211

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Street Date: 1.27.23 | Order Date: 1.06.23

191404127827

CD-XL-1278

Kenny Beats LOUIE

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Nosaj Thing Continua

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4062548042825 CD-JID-016

Younge, Adrian, Ali Shaheed Muhammad, Phil Ranelin, Wendell Harrison

4062548042849 LP-JID-016C Younge, Adrian, Ali Shaheed Muhammad, Phil Ranelin, Wendell Harrison

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Phil Ranelin and Wendell Harrison JID016 (COLOR VINYL)

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R. Ring War Poems, We Rested

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Street Date: 1.27.23 | Order Date: 1.06.23

809236160188

LP-FIRE-601C Black Lips 200 Million Thousand (WHITE VINYL)

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Released on October 1, 1996, “Speed Trials” was the first single from Elliott Smith’s breakthrough album, Either/Or. The track’s careening rhythms and languished vocal melodies have kept it a favorite in Smith’s catalogue decades after its debut. Backed with additional Either/Or track “Angeles” and the elsewhere unreleased “I Don't Think I'm Ever Gonna Figure It Out”, this 7” highlights Smith’s talent during one of the most earnest and creative periods of his life.

on New Year’s Day, 1995, “Needle In The Hay” followed up on Elliott Smith’s debut album Roman Candle the previous year, and appeared as the lead track on the eponymous Elliott Smith later in ’95. The song has left a remarkable legacy, having been covered by an array of artists spanning Juliana Hatfield, Bad Astronaut, and Kermit the Frog. This 7” features “Needle In The Hay” backed with “Alphabet City” and “Some Song”, offering an encapsulation of Smith’s early

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi powerpop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release Cloud Nothings’ selftitled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. have created an album that shows vast growth in a still very young band.

10th Anniversary limited edition pressing • Pressed on Sky Blue vinyl • Brand new artwork with colorized cover printed on a foil jacket

Roky Erickson & The Explosives had been honing their craft in hot, sweaty clubs all over Texas for a couple of years before this California tour which, along with the Whisky, included the Warfield Theater in San Francisco, Galactica 2000 in Sacramento, the Stone in San Francisco, the Keystone Berkeley in, well, Berkeley, the Bacanal in San Diego and the Europa in Tucson, AZ on the way back to Texas. But, the Whisky was a special, magic night of music. Roky was on top of his game and the Explosives was a well oiled machine capable of musically “turning on a dime” with nary a single apple falling from the cart. The proof in that statement was when, as we were walking on stage to start the show, Roky turned to us and asked “Do you guys know the song Heroin by Lou Reed?” We replied “no” as we plugged in and Roky launched into, you guessed it, “Heroin” by Lou Reed. The results are on this record!

JOHN CALE MERCY

OVERVIEW

What does John Cale have that the rest of us don’t—some gene that engenders infinite restlessness, a rapacious mind that is never satisfied? For nearly 60 years, or at least since he was a young Welshman who moved to New York and joined The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. To wit, in those early days of fundamentally changing rock ’n’ roll, he was also making ecstatic viola drones and playing with La Monte Young’s epochal ensemble. There was the bewitching chamber folk of Paris 1919 (1973) followed instantly by the gnarled rock of Fear (1974), the provocative and spare song cycle Music for a New Society (1982) followed more than 30 years later by mighty and unabashed electronic updates. Are there straight lines between collaborators Lou Reed and Danger Mouse and Sharon Van Etten, or between the avant-garde of downtown New York in the ’60s and that of the Internet right now other than John Cale?

Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY—his first full album of new tunes in a decade—moves through true dark-night-ofthe-soul electronic blues toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Laurel Halo, Sylvan Esso, Animal Collective: They’re but half of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers and pals have passed away, particularly during the last decade. But MERCY isn’t some late-in-life Hail Mary for relevance so much as the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

If it’s MERCY John Cale wants, he’s created it not only through these 12 songs but through a lifetime of perpetual self-renewal.

• Standard LP is a double vinyl pressing. Indie Retail Exclusive 2xLP (ltd) is a transparent violet vinyl pressing. LP sequence is different from the CD; no download card is included across all LP formats.

JOHN ZORN NEW MASADA QUARTET, VOLUME TWO TZA

CD 8396

Archival Series

John Zorn, Julian Lage, Jorge Roeder, Kenny Wollesen. Katzatz * Idalah Abal * Ne’eman * Abidan * Jair * Ashnah * Rahtiel * Achshaph

The first release by John Zorn’s newest and most exciting ensemble, New Masada Quartet was one of Tzadik’s best selling and most popular recent releases. Here the quartet returns to perform eight more classic compositions from the Masada songbooks. One of the best bands Zorn has ever had, here they are tighter than ever, and the performances are filled with burning solos, telepathic group interaction, heartfelt lyricism, and hypnotic grooves. Spontaneously structured by Zorn’s eversurprising conducting techniques, a crackling live energy brings the Masada music to life like never before. Masada at its passionate best.

File Under: Jazz

7 02397 -83962 0

Street Date: January 20, 2023

Export: Do not export to France, Italy, Spain and Japan. Box Lot: 30 CD

Tzadik, A Project of Hips Road, 200 East 10th Street, pmb 126, New York, NY 10003 info@tzadik.com Redeye Worldwide, 505 Eno Street, Hillsborough, NC 27278

Bad Ends are a band of veteran musicians from Athens, GA featuring Bill Berry (R.E.M), Mike Manitone (Five Eight) Christian Lopez (Curly Maple) Geoff Melkonian (Josh Joplin Group) and local guitar-shop-owner, Dave Domizi. Their New West Records debut, The Power And The Glory, was recorded at the legendary local studio, Espresso Machine, and features guitar driven songs like “Mile Marker 29,” “Thanksgiving 1915,” and “Honestly.” An immediate classic referencing the best of early 90s college rock. Athens, GA to the max.

January 13, 2023 A first time, limited-edition pressing of the critically acclaimed 2014 album from the North Mississippi Allstars frontman. Luther Dickinson entered a new phase of his storied musical career with his first proper studio album of all original songs. As a member of the North Mississippi Allstars, South Memphis String Band and the Word, Luther has made himself widely known as both a talented musician and as a producer with four Grammy nominations to prove it - three in the Contemporary Blues category and one in Traditional Folk. This classic album is now pressed on color vinyl for the first time. A limited, one-time pressing of 500 units.

Poliça are an offshoot of Ryan Olson's Gayngs collective, produced by Olsen and fronted by vocalist Channy Leaneagh. They recorded this debut LP in the wake of Leaneagh's divorce, and its R&B-inspired electronica feels appropriately grief-stricken, fizzing with minor-key synths. Leanagh's laments are often indistinct, lost to a wash of silvery Auto-Tune and cascading reverb, and bolstered by a hybrid of natural and digital beats. Influences fluctuate between styles old and new, evoking shades of Portishead's 90s eeriness in places, while sounding starkly futuristic on the pummeling, siren-strewn stab of Violent Games. Their best arrives mid-album, with the seductive, chiming single Lay Your Cards Out, temporarily collapsing the album's darker tensions into an aching, cathartic slow jam. The lighter touches – grainy jazz trumpets on Dark Star, funk bass on Leading to Death – suggest a duo set on expanding this heartbroken electronica.

J.T.IV The Future

Outsider freekz, make with the haste! It’s time to get back to The Future the one promised back when rock and roll was king, remember? J.T. IV believed in the promise and now, the mystery man behind barely-released private press 7" records of the ’80s like “Destructo Rock” and “Cosmic Lightning” and a film holding the Guinness record for worlds-longest — 85 hours! — has been called back to our mortal coil, to live out his glittering, rapacious dreams once again.

The 2009 comp LP Cosmic Lightning cast his tragic silhouette up on the big screen for all to see: the lost boy, alone in the world, standing before the mic and releasing his inner star with glee and vengeance, his antisocial visions flying high atop a raging funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heartbreaking billow of acoustic guitars a schizophrenic split that only magnifies the display of his deep emotions. The Future goes even further, excavating fifteen recordings from a previously unheard-of cassette entitled, The Best Of Johnny Zhivago Retrospective 1979–1993, and adding four more uncollected tracks from his slim (and impossible to find anyway) discography. Of these nineteen tracks, eight are covers and J.T. IV ’s picks, from Velvets to Mott the Hoople, Roxy Music, Lee Hazlewood , The Kinks, Eno and Stephen Sondheim , sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few steps away from his goal. The Future unfolds like an epic, as both sides of J.T.’s persona the street-smart, damaged rocker and the heartstruck poet of the scene live on together in the best performances of his short career.

A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional, abusive and eventually broken family. By the mid-70s, he was desperate to get out, running away from his mother’s home several times while still a teenager living in the greater Chicagoland area. At wit’s end, she had him committed to the Menninger Clinic for a year or so. Released on his own reconnaissance, he began his meteoric ascent to the mythic level of self-aggrandizement in which he appears here. Inspired by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser Press, etc.) and desperate to be heard himself, J.T. presented like the scabby younger brother of Bangs and Laughner: born only to rock, his

musical conception a rabid personality crisis of proselyte elitism and nihilist excess.

Under the circumstances, what could a poor boy do? Unable to function in the straight world, John got fucked up and jammed his tunes with friends, taping the music and eventually making a series of singles from the tapes. Instead of real live shows, canned audience noise was layered over studio recorded tracks or staged events were videoed, for posterity. J.T. IV didn’t want to control so much as fabricate maybe even satirize? the narrative. Wrapping this conceptual fabric around his natural gifts as a singer, his naked form of expression and the delirious visions of youthful angst in his songs, J.T. IV was a fully realized rock rebel yet as he wrecked himself with liquor and drugs over too many fast, hard days and nights, would anyone ever discover him and everything he held inside?

As it was, Cosmic Lightning finally struck again in 2009, when John Timmis was seven years gone, unable to see his reissued music cleaving open a crater in the cultural landscape. Now 20 years on from his passing, The Future is ever farther away from the world in which he struggled so mightily but his stinging iconoclasm, whether screamed from Marshall amps or mic’ed up close, feels ever more powerfully infused with his unique breadth of illness and essence.

The album is called The Future for several reasons. The title track extols the virtue of being an independent thinker, which scans with our data on J.T. But it’s also an optimistic, even anthemic, call for a better tomorrow, giving the next generation a world of love and hope! John’s scathing cynicsm melts away showing his pure soul underneath. Then, “My Fellow Americans” closes the album with another future-oriented song, though this time it’s a dystopian landscape where the president, a Reaganesque war monger, delivers an ominous and bizarre State of the Union address to the American people, suggesting that he replace Congress with clones of Adolf Hitler to mandate the extermination of all welfare and social security recipients in the US. These songs represent the two sides of J.T. and while they emanate from the 80s, they find themselves potently renewed in the polarized world of today, making The Future a worthwhile destination for everyone who ever had a heart touched by the transgression and freedom promised by rock and roll.

Space Baby / I Wish I Was Your Mother / Pictures From the Past / The Loner / The City Never Sleeps at Night / The Fat Lady of Limbourg / The Future / If There Is Something / Sunday Morning / Jet Lag Time Drag / A Fix of Rock N Roll / Somebody to Love / The Ballad of Oliver North / I Love You / Out of the Blue / Tonight / Caroline Says II / Celluloid Heroes / My Fellow Americans

MEHENET - NG’AMBU (FIRE RED COLOR VINYL) RELIC133

New Orleans black metal sect MEHENET announce the bands highly anticipated sophomore full-length album titled, Ng'ambu - meaning "the opposite shore" - is set for release on September 10, 2021 via Gilead Media.

Five tracks of masterful, ritualistic, and pitch-black evil make up the entirety of Ng’ambu - an album which is meant to be interpreted as a hymnal to invoke and praise spirits - shows the band drenched in offerings to the bands personal connection and dedication to Quimbanda, the Afro-Brazilian diasporic belief system based around magic, rituals, and offerings. The band explains, “It is both an offering to our Cabula, that is our house, as it is to the spirits of Quimbanda themselves. This isn’t a passing interest and all the members of the band have been involved in one way or another in a formal manner. What does it mean to engage these spirits? In some sense we are turning what could otherwise be poison into medicine. It is a process of engaging, through struggle, with those aspects of ourselves and the world which live at the pivot point of chance and desire. It is about seeking agency even in the thistles of the road. Quimbanda is the fire by which we forge our iron and the strangling plantst that cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our anxiety and the motivation that anxiety produces. It is conflict and the strength that comes from engaging that conflict. People say, idle hands are the devil’s plaything, and so we have put those hands and The Devil to work.”

For the band's sophomore release, MEHENET connects a powerful fury of black metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing samples of the bustling French Quarter and by paying respect and praise to the cultural music of the city by incorporating congas, whistles, and bells. Recorded and mixed in 2019 by James Whitten at High Tower Recording in New Orleans, LA and mastered by Dėha at Opus Magnum Studio-Brussels, Belgium, the band captured the intricately woven frenzy of the outfits stunning musicality while interlacing their powerfully provoked hymns with screeches of vicious and commanding vocals, anxiety-inducing swarms of massive riffs, and momentous, hellish drumming.

THE SILVER make their Gilead Media debut with the album Ward of Roses. A record that is at once extreme and exposed, horrific yet beautiful, Ward of Roses explores anxiety, love, loss, and the matters that make us all too human.

From “First Utterance” to “Then Silence” the curtain rises and falls on a haunting tableau of human frailty, a romantic and visceral exploration of the dark recesses of the soul. Featuring members of Horrendous and Crypt Sermon, Ward of Roses marks a decidedly different path for the musical collective. An album that deals in blast beats as much as romanticism, Ward of Roses progresses through movements that draw from black metal, goth rock, and other bleak expressions.

V’s soaring clean vocals mingle with cathartic guitars while vocalist Nick Duchemin howls over strident blast passages often in the same song. THE SILVER’s ethos alludes to metallurgy. Silver can only reach its intended shape, state, and purpose when hammered, set ablaze, and struck again. As the hymns of Ward of Roses suggest, we are tempered through all of our life experiences and traumas, emerging only after we have leapt through the flames of our personal abysses.

Ward of Roses was recorded by Brad Omen at the Covenant in Philadelphia. Mixed and mastered by Damian Herring. Artwork by Paul Romano.

“The musicians use this opportunity to get away from the sounds of their main acts, instead indulging in their love of black metal and goth. That combination allows them to infuse these songs with real emotional depth while still delivering some seriously evil riffs.” - Metal Sucks

“The album pushes metal forward by honoring some time-tested traditions but never being afraid to branch out from them.” - BrooklynVegan

“The Silver aren’t the first wrecking crew to scale back extremity in pursuit of gothic luxury (see also: Unto Others, Tribulation), but they’re certainly one of the best.” - Bandcamp Daily

“...There are blast beats and expressive, screamed vocals but The Silver dwell in much more emotional territory, pulling from goth rock and real-life highs and lows to produce an album that is much more vulnerable than its members other projects." - Decibel Magazine”

“This new Philadelphia band, featuring members of prog-death masters Horrendous and doom crushers Crypt Sermon, manages to shake up goth metal without losing the sensuous mystique" - SPIN”

Magnus Carlson featuring Trummor & Orgel: The Way Of The Crowd Ep

Magnus Carlson of Weeping Willows fame is back with the new EP The Way Of The Crowd. For this release, Magnus went for the trio format together with the formidable Ljunggren brothers of Trummor & Orgel on Ludwig drums and Hammond respectively. The result is an immaculate and soulful delivery which captures the intimacy of a small, but very tight musical outfit working together in perfect harmony.

MAGNUS CARLSON

& ORDEL The Way Of The Crowd

Side A

1. Reflections of Charles Brown (Rupert’s People-cover) 2. The Way of the Crowd (Dan Folger-cover) 3. In the heat of the morning (David Bowie-cover) Side B

1. On a Clear Day (You can see Forever) (The Peddlers-cover) 2 Man without a Dream (The City-cover) 3. Undun (The Guess Who-cover)

MARIA’S HUNT GLYDERS

80 degrees in the midnight shade. Just another breezeless night. The crickets and the sirens and the humming of florescents and neon all melting down in the groove. An emptiness it’d be a shame to lose. Except is that the wind kicking up? Coming round the bend / like a ghost in the road / just off the beaten path / rubbing shoulders with the ditch / Glyders!

Track Listing High Time

Wrong Sometimes Right Geneva Strangemod

Formed in 2014 in Chicago by partners Joshua Condon and Eliza Weber, Glyders have kept busy, lighting up shows around town and country ever since then with their mystery sound, on the road when and where they could from here to Europe, taking time also to self-release a couple of EPs (“DIM” and “Lend a Hand”) whose high lonesome wack promised that a full length would be a real trip.

Maria’s Hunt Shoreline Golden Hour Smooth Walker Can’t Beat The Heat Inbound/Outbound Shoreline (Reprise)

Whether you knew it or not, here it comes now you’re right in the path of Maria’s Hunt.

Fueled by Josh’s spectral vocals and the liquidity created by his guitar and Eliza’s bass, Glyders’ mazy spacecraft takes to the air from the empty parking lot out back of the roadhouse and finds in its arc an anodyne of the trippy and the

wiggy / ghostly places lost and found. Glyders have it both ways, rocking the white line with fervor but also stopping to soak up the fragrance of the purple sage and the queen of the night by the side of the road.

They’ve cut their records at home, with Josh delving deep in the pleasures of analogue recording, finding the embodiment of their subterranean fascinations with twists and turns of the dial in a space they’ve dubbed the Juicy Lagoon. Steeped in the pop and psychedelic enigmas of rock and roll yore, the buzzing of tubes and transients and uncontainable rumble, Glyders make it shake and live in front of the tape machine and real audiences alike with a flexible, expansive palette of sounds and a tight bunch of songs.

For their first vinyl full-length, the watchword, as ever, is “maximal minimal.” And it WORKS. These kids are up around the bend and in it for the long haul. After a few lineup shifts over the years, they’re settled down with drummer Joe Seger and are fixing their sights on the far horizons. If you see Glyders choogling down the track, pull up and get set for Maria’s Hunt.

IMMATERIAL POSSESSION

O U T J A N U A R Y 2 0 T H 2 0 2 3

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day.

All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences.

LTD TRANSPARENT BLUE VINYL – FIRELP691 – 809236169112

SLUG return with a new album “Thy Socialite!” on 20 January 2023 on a new label formed by Field Music’s Peter and David Brewis.

“I started to think about what I could do to challenge my own listeners,” says Ian Black aka SLUG. “And what would be my angle without just releasing 40 minutes of generic bad music?”

This was a question that Black found himself asking after thinking about albums made by revered artists who released specific records that some of their loyal fanbase hated - Arctic Monkeys and Tranquillity Base Hotel and Casino, Leonard Cohen and Death of a Ladies Man, Lou Reed and Berlin. “My friend likened Lou’s Berlin to ‘Andrew Lloyd Webber on a horrendous drug come down’. Andrew Lloyd Webber on a horrendous drug come down? That sounds amazing!”

Although Thy Socialite!, the first release from Field Music’s new record label Daylight Saving Records, is not the sound of Lloyd Webber quivering and sweating in a rotting Berlin flat but instead, a fun, joyous, audacious record of hard rock, glam, and pop that ranges from arena to art school. “I wanted to include a more rockist palette,” Black says. “My last album, Higgledypiggledy, had influences including The Cardiacs, Prince and The Residents. For this one I wanted to see what I could get out of less indie audience friendly artists such as Toto, Sweet, Wings, Def Leppard and ZZ Top and merge it with a SLUG sensibility. Due to the more rock approach, I was happy for the album to become a big classic rock unit - pompous even.”

However, simply a pastiche and nostalgic throwback this isn’t. Despite the playful nods to some of the more grandiose, theatrical and overblown elements of the aforementioned genre, it’s also an album with a contemporary pop edge, slick production and a tangible connection to SLUG’s previous deft mix of indie, rock and art pop.

The result of all of this is an album that is fun and unpredictable but also conceptually smart, ambitious and adventurous. A place where classic hard rock and smart art-pop are treated equal, and where taking the piss doesn’t have to equate to being novelty or disposable. It was all part of the challenge that Black set himself from the off when he asked himself “how could I challenge the SLUG listener but bring them on a new fresh journey which will confuse them at first but they will ultimately love?”

For David Brewis of Field Music, it was the ideal first record to kick off their new label. "This seemed like the perfect start for Daylight Saving Records," he says. "We've always loved what Ian does and it's been a thrill over the years to help Ian dig these wild musical ideas out from his brain. Now we can have a hand in putting them into people's ears too."

Kenny Beats LOUIE

STREET

The first solo album from Kenny Beats is a spontaneous burst of creativity spurred by an avalanche of despair and imagination. Only after sharing it with a few close friends –who mentioned the elegiac pathos it evoked – did Kenny become convinced to release it for public consumption. Just 17 songs and 33 minutes, LOUIE is a hypnotic odyssey of wounded, teardrop soul.

LP: XL-1278-LP

File Under: Hip-Hop

Vinyl non-returnable

LP: XL-1278-LPE

File Under: Hip-Hop

Indie Exclusive Blue

Vinyl non-returnable

LP: XL-1278-CD

File Under: Hip-Hop

TRACK LISTING

SELLING POINTS

• Album features contributions from Mac Demarco, Remi Wolf, Foushee, Thundercat, Omar Apollo, JPEGMAFIA, Paris Texas, Slowthai, Dijon and more.

• Charted digital release week on Spotify US Viral Charts; up to 25 MILLION+ global streams (as of Nov 2022)

• Press coverage includes The Needle Drop (glowing 8/10 review) GQ, Pitchfork, The Face, Rolling Stone, Dazed, and more

• Massive audience

• Discord (125K – 2nd largest channel in music)

• YouTube (68M views / 748K subs with viral series THE CAVE)

• Twitch (309K)

• IG (568K)

• Twitter (465K)

• Spotify - 4.1M monthly listeners

LOUIE presents a side of Kenny, best known for producing seminal full-length albums for some of the world’s most exciting artists (Vince Staples, IDLES, Rico Nasty, Freddie Gibbs, Dominic Fike, and many more) that has not been seen by the world before. Charismatic, self-effacing and generous, the album reveals the duality of the artist -an enigmatic, introspective searcher who has experienced pain and duress, and alchemized it via looped samples and hypnotic drum patterns. LOUIE gives testament to our most personal thoughts, recollections and stories. It is an intimate and personal gift that achieves the rarest condition—a sense of the universal.

PRESS

DATE: January 27th, 2023 Leonard Parenthesis

PITCHFORK

“A joyous, funky, and texturally dynamic record ... not a skip in sight”

PITCHFORK

Strange but hooky, sonically unified but constantly changing, possessed of an odd emotional pull, the music here would grip you regardless.

THE GUARDIAN, ALBUM OF THE WEEK

“Kenny is making the best music of his life right now”

VICE

“Louie sees Kenny take the spotlight after producing for some of the biggest and most exciting names in the music industry.”

COMPLEX

y y, ( )

“There’s multiple energies on the record and every time I hear it, it feels alive to me. It’s a communal record and we all tuned into something My hope is that this could impact whoever's listening to it in a positive way Continua invites you forward To keep going ”

The heightened emotional undertones of Continua nod to a golden era where virtuosic electronic, downtempo and hip hop-inspired production transcended the late 90s MTV2 pop canon. Nosaj Thing's expertise is in crafting soundscapes that imply his journey, tracing back to the noise and punk shows at DIY venue The Smell, to working behind the counter of Turntable Lab, to his debut at Low End Theory, his opening performances for The xx and then The Weeknd. He’s played a decade of ambitious, headline experiences with Tokyo-based visual savant, Daito Manabe This essence of IRL live-ness imbues his music with such a visceral emotional range that it would be reductive to describe it as a 'mood'. But it's exactly that communally-shared 'mood' that has made Nosaj Thing such a cult artist across his 16-year-deep discography

Description

• Beatitudes is J Rocc’s new beat tape for Stones Throw, following his recent full length album, A Wonderful Letter.

• J Rocc’s latest offering goes back to the artist’s routes as a DJ and turntablist.

• The album is made up of ten instrumental hiphop tracks inspired by 20th century gospel recordings.

• The cover is an homage to the work of a painter known only as Harvey, an artist who created nearly 200 sleeves in the 1960s for gospel and jazz albums on Savoy Records and its subsidiary labels Gospel, Regent, and Sharp.

Key Selling Points

• J Rocc has been a seminal force in the rise of instrumental hip-hop since the late ‘80s.

• In addition to numerous mixtapes and his own production for Stones Throw releases, J Rocc has been the DJ for Madlib’s live shows since the early 2000’s, was the third member of Jaylib (Madlib & J Dilla) during the group’s live events, and collaborated with Madlib on Beat Konducta Vol. 5-6: A Tribute to J Dilla.

• Press and radio highlights include NPR, Bandcamp, The Vinyl Factory, MINT, BBC 6 Music, KCRW, KEXP, NTS, RTE 2XM.

• J Rocc has been touring the US and Japan since the release of A Wonderful Letter, and plans to tour the UK and Europe in 2023.

• "J Rocc is one of illllllllest DJs ever. If you see his name in your town? Rush! See a living legend!" - Questlove (The Roots)

We Cater To Cowards builds exponentially on its predecessor High Anxiety’s experiments with dynamics and unusual instrumentation While songs start with Zack Weil’s arrangements, they mutate in the practice space when the monstrous rhythm section of Kevin Cribbin and Kyle Reynolds forge the pieces into grotesque new shapes. From the complex rhythms of “Crypto Fash”, to the Beethhoven-inspired slabs of sound of “Total Existence Failure”, the arrangements are inventive and unexpected. Horns from longtime friends Thyme Jones and Bruce “Hesh” Lamont add depth and texture to Weil’s rippling distortion throughout, at times subtly blended into the mix only to erupt into a full skronk solo on “Old Sludge”. The complex arrangements and unexpected sounds elevate and enhance the group’s searing sonics without losing its focus. We Cater To Cowards is the band’s most daring and devastating album; it is a refreshing and exhilarating mutation of genres forging Oozing Wounds’ own distinct path. As Weil aptly puts it: “we don’t care about propriety or the sanctity of TRVE METAL or any of that bullshit.” Thank God they don’t. For those who do care to dig a little deeper, We Cater To Cowards is a deeply rewarding pummeling good time.

Oozing Wound are both a subversive force in heavy music and key players in Chicago’s vibrant DIY warehouse scene. Their albums gleefully defy categorization, delighting in contradictions and delivered with self-aware humor that sets them apart from their peers. No one is safe from their scathing gaze, not even themselves. Self-described as “a rock-band wolf in metal sheep’s clothing”, this disparity has brought accusations of the band “not taking this seriously” in the deeply serious business that is entertainment. Beneath the blunt- force of the trio’s music lies a deep-set dedication to sonic experimentalism. Catalysts of Chicago’s underground, the trio of guitarist and vocalist Zack Weil, bassist Kevin Cribbin and drummer Kyle Reynolds are champions of irreverence, experimentation and unrelenting volume. Their impact on Chicago DIY can not be overlooked: Cribbin lived in and ran legendary performance space Situations, while Reynolds’ Rotted Tooth Recordings was home to many of the scene’s essential artists. On We Cater To Cowards, Oozing Wound push their music further by turning metal into itself and with their scathing social observations they have produced an album that is devastatingly fierce and undeniably addictive.

Also available from Oozing Wound: Earth Suck CD (Thrill 369) Whatever Forever CD/LP (Thrill 416) High Anxiety CD/LP (Thrill 473)

Oozing Wound

6. Between Cults 7. Chudly 8. Midlife Crisis Actor 9. Old Sludge 10. Face Without Eyes

SALES POINTS

Oozing Wound is comprised of members Zack Weil (guitar, vocals), Kevin Cribbin (bass), and Kyle Reynolds (drums).

The members of Oozing Wound are veterans of Chicago’s underground scene having played in Cacaw, Unmanned Ship, ZATH, and Bad Drugs

We Cater To Cowards is available in CD and LP formats, with a Limited Edition Hi-Melt Silver LP available. LP versions include a digital download card.

Oozing Wound have done tours both across the US as well as international tours, playing with the likes of High On Fire, The Body, Ash Borer, Wolf Eyes, Nazoranai, and Black Pus.

Oozing Wound were selected by Adult Swim to be a part of their exclusive Singles series alongside Sleep, Mastodon, Deafheaven, and Diarrhea Planet.

“Chicago thrash trio Oozing Wound specializes in darkly funny, complex, misanthropic songs about mostly awful people.”

-Chicago Tribune

“[Oozing Wound are] the freaks underground metal needs.”

-Pitchfork

“Oozing Wound are breaking new ground. They don’t wish to be Slayer. They can’t help but slay, whoever the audience might be” -The Wire

Sightless

TRACK LISTING:

1.Resin on a Knife (feat Midwife)

Sightless Pit is the project of duo Lee Buford (The Body) and Dylan Walker (Full of Hell). Buford and Walker are born collaborators, known for their ability to subvert musical expectations, transcend genre and plunge headlong into the unknown. Across the album, the two highly inventive musical omnivores are buoyed by an astounding menagerie of eclectic and celebrated collaborators including: Gangsta Boo (Three 6 Mafia), YoshimiO (Boredoms), Frukwan (Gravediggaz), Claire Rousay, Midwife, Lane Shii Otayonii (Elizabeth Colour Wheel), Foie Gras, and more. Their work with the likes of Thou, Uniform, Merzbow, and Nothing, taken together with their The Body & Full of Hell albums, have established each as singular voices and masterful alchemists of heavy music. The duo shares an affection for rhythm-based beat music, disparate electronic genres, dub, as well as darkly-hued atmospheric ambience. Lockstep Bloodwar exceeds expectations by stunningly combining the noise and confrontational posturing they are both well known for with pulsing and kaleidoscopic electronic samples, drum machines, and grizzled synths.

Following the release of their first record, Grave of a Dog– which features Kristin Hayter (Lingua Ignota), Buford and Walker continue to push the boundaries of heavy music. An aura of brusque confrontation and grime is sheathed around Lockstep Bloodwar and its multiplicity of noises and raw energy. Lee Buford’s signature rhythmic voice stretches into new complex patterns while retaining an unearthly punch, with gargantuan bass thuds and deft syncopations capable of transforming a song’s landscape in an instant. A spirit of malcontent and caged frustrations oozes from within each piece manifested in spiraling low end throbs and Dylan Walker’s pained wails. Walker describes the underlying worldview of the album: “Lockstep Bloodwar is the struggle to comprehend and come to terms with the fact that our lives are on a locked track, and the track is violent and painful. We have zero control over our lives on any kind of scale and even the simplest existence is a selfish and violent one.”

LISTEN HERE Follow

2.Calcified Glass (feat YoshimiO & Gangsta Boo)

3.Flower to Tomb (feat Lane Shi Otayonii)

4.Lockstep Bloodwar

5.Low Orbit (feat Frukwan & Industrial Hazard)

6.False Epiphany (feat claire rousay)

7.Shiv (feat Crownovhornz)

8.Morning of a Thousand Lights

9.Futilities (feat Foie Gras)

SALES POINTS

Sightless Pit is Lee Buford (The Body) and Dylan Walker (Full of Hell), two unparalleled artists at the forefront of redefining heavy music.

The album includes an eclectic and celebrated guest artists, including Gangsta Boo (Three 6 Mafia), YoshimiO (Boredoms), Frukwan (Gravediggaz), claire rousay, Midwife, Lane Shii Otayonii (Elizabeth Colour Wheel), Foie Gras, and more.

Lockstep Bloodwar is Sightless Pit’s sophomore album following the band’s acclaimed debut Grave of a Dog, which featured Lingua Ignota, as well as The Body and Full of Hell’s collaborative album Ascending a Mountain of Heavy Light.

Lockstep Bloodwar is available in CD, LP, and a limited Translucent red w/ Black swirls LP. All LP versions include a digital download card.

“[Sightless Pit] subvert expectations by doing away with guitars and live drums altogether, instead using drum machines, samples and more obscure means to scorch the earth.” - The Guardian on Sightless Pit

“The band crib from noise, ambient and embolism-inducing extreme metal, managing to knit this diverse array of sounds into something searingly coherent” - Metal Hammer

“The pulsating claustrophobia of these eight songs embodies suffocating hopelessness, a sonic swathe of sorrow and desolation” - Roadburn Festival

Sightless Pit

ALSO AVAILABLE FROM SIGHTLESS PIT : Grave of a Dog CD/LP (Thrill 517)

LISTEN HERE

15 years after the album’s release, City of Echoes is now available in a deluxe 2xLP edition, newly remastered by Josh Bonati and featuring a full LP-worth of bonus material, including original album demos, alternate takes, and pieces originally only available on the rare Pink Mammoth EP. City of Echoes, originally released in 2007 by Hydra Head Records, marked a paradigm shift for Pelican. Coming off the heels of the glacial Australasia and their even more expansive and acclaimed follow-up, The Fire In Our Throats Will Beckon The Thaw, their third album is a study in precision. Inspired by their non-stop tour schedule following The Fire’s release, the quartet composed City of Echoes to be a lean powerhouse of non-stop melodic hooks and lurching rhythms that reflected the energy of live performance.

With City of Echoes, Pelican defied expectations and set themselves apart from the single-minded thrum of retreading old ground. The more concise pieces trade breadth and rumination for a distinct clarity and a razor’s edge for hook-driven songcraft. Guitarists Trevor Shelley de Brauw and Laurent SchroederLebec trade crisp riffs that twirl in opposition before thundering together in monoliths. The sheer amount of potent interplay between the two, often borrowing from disparate edges of rock and metal at a whim before completely transforming, is mindboggling. Bassist Bryan Herweg and rhythm section compatriot/ drummer/brother Larry Herweg lock into a wider array of grooves than ever before. Their considered bedrock guide the band’s dynamics into some of the ensemble’s most tender moments as well as their most ferocious. City of Echoes stands as a testament to Pelican’s ability to reconfigure the grandeur and force of their sound without ever repeating themselves.

ALSO AVAILABLE : Australasia LP (Thrill 557)

COMING SOON:

The Fire In Our Throats Will Beckon The Thaw LP (Thrill 558)

TRACK LISTING:

1. Bliss in Concrete

2. City of Echoes

3. Spaceship Broken - Parts Needed

4. Winds With Hands

5. Dead Between the Walls

6. Lost in the Headlights

7. Far From Fields

8. A Delicate Sense of Balance

SALES POINTS

City Of Echoes is available in a deluxe 2xLP as well as a Limited Translucent Blue 2xLP; each featuring a full LP-worth of bonus material. Both versions include a digital download card.

Deluxe editions bonus material includes original album demos, alternate takes, and pieces originally only available on the rare Pink Mammoth EP

Cover art designed by ISIS and SUMAC founder Aaron Turner, with photography by Robin Laananen.

Deluxe version of City of Echoes, recorded by Andrew Schneider at Electrical Audio, is newly remastered by Josh Bonati

Pelican founding guitarist, Laurent Schroeder-Lebec has reunited with the band. Tour dates are planned.

“The guitar work of Laurent Schroeder-Lebec and Trevor de Brauw, which is as good as its ever been on City of Echoes”- Pop matters

“In many ways City of Echoes is Pelican’s most innovative and exploratory record to date. The absence of the crushing heaviness of albums past has given way to a more melodic, hook oriented sound, all while holding on to a sound that is still unmistakably Pelican.” - Lambgoat

“[Pelican’s] maturation has been a matter of winnowing -- finding the styles they do best, honing them rigorously, and chucking everything else. That process is complete on their third album” - SPIN

“City of Echoes’ flurry of activity signals the beginning of an epic voyage.” - Decibel

“[Pelican have] moved forward without losing sight of what makes them unique, and by doing so, they’ve moved the entire instrumental heavy music genre forward as well… The craft and care put into City of Echoes is a breath of fresh air and puts them back into a musically territorial space all their own.” - AllMusic

Follow Pelican

Brothers are the real deal. They can pick. They

sing. And they can write a damn good

song. Country Music Hall of Famer Tom T. Hall was always an early supporter, encouraging their writing, and predicting success. They’ve won about every bluegrass award you can name and released

on almost every premier Americana label

can think of, and, if that’s not enough, their songs have been recorded by bluegrass legends no less than Del McCoury. It’s a resume almost anybody in country music would be proud to have. Their latest album, “Darkest Hour,” produced by dobro master Jerry Douglas might be their best work to date.

CHARLIE PARKER Live in Sweden 1950

2CD # CD-DRA-444 Digipack - 12 page booklet UPC 7391953004447

Tracklist; CD1 Fine and dandy Out of nowhere All the things you are Anthropology Cheers

Lover man (Oh where can you be?) Fine and dandy Out of nowhere

Anthropology Scrapple from the apple Embraceable you Cool blues

Tracklist; CD2 Hersey bar Mean to me Move

Star eyes/All the things you are Strike up the band Body and soul Fine and dandy How high the moon/Ornithology

Charlie Parker only visited Europe twice. In May 1949 he played in Paris, and for just over a week in November 1950 he was (mainly) in Sweden.

Some of these recordings were made at concerts with a buzzing audience and people dancing - hence the live feeling! The musicians are relaxed and the atmosphere informal. Their joy of playing on stage with Parker is truly palpable to the listener. This double CD set contains 2 shows and a late night jam.

Some of these recordings av been previously released, but at the wrong speedbut now we get the full sets in the way it sounded 1950.

Following on from 2016’s Doing It In Lagos: Boogie, Pop & Disco in 1980s Nigeria, Soundway Records return to that blistering set for the first and only officially licensed re-issue of the highly coveted debut album from Steve Monite, featuring the single ‘Only You’ that recently seeped its way into popular culture. Lovingly restored and remastered on 180g vinyl with liner notes.

Shooting, space-synth sounds ripple and vibrate, incessant grooves keep the tracks in motion and Nkono Teles production, a producer often overlooked for his hand in the Nigerian boogie sound, sets the LP into orbit. An album that was largely overlooked on release in 1984, the track list includes the latter day hit ‘Only You’ and ‘Things Fall Apart’, the melody of which was lifted for Young Franco’s 2020 single ‘Fallin’ Apart’.

"A song you'd imagine hearing if James Blake and The Shacks had a baby." - KCRW

"warm, wistful, and quaint all at once" - HYPEBEAST

"Softly lit tones with a jazz influence, his fuzzy, lo-fi sense of soul touches upon the intimate at every turn" - CLASH

“dreamy, soul-tinged adult alternative songs with subtle electronics and jazz and hip-hop influences" - ALLMUSIC

CD Box Lot: 30

Packaging: 4 Panel Digipak

LP Box Lot: 30

Packaging: Double LP w/ Gatefold Jacket, Printed Inner Sleeve & Download Card Vinyl is non-returnable

Jonah Yano is the Hiroshima born, Montreal based singer-songwriter, whose journey into music began with recording music using his cellphone in 2016. Having played piano and guitar as a child, it wasn’t until Yano moved from Vancouver to Toronto in 2016 that he began putting his songs online, catching the eyes of Toronto’s thriving local music scene. Spending the next couple of years obsessively songwriting and practicing vocals, and learning technical skills, he collaborated with Toronto duo MONEYPHONE on the 2018 song “On Lock” which became an underground success. Shortly after, Yano released his first solo single “Rolex, the Ocean'' with producer Joseph L'etranger. Once he began writing his full EP, he was introduced to frequent collaborators BADBADNOTGOOD, who are featured on the EP’s title track, “nervous”. Following the “nervous” EP, Yano and BADBADNOTGOOD released a highly praised cover of the Majestic’s “Key to Love (Is Understanding)” along with another well received collaborative track with BADBADNOTGOOD titled “Goodbye Blue”. In July of 2020 Yano released his debut LP titled “souvenir” which features production from Monsune, Jacques Greene, frequent collaborators BADBADNOTGOOD, and lastly his father, Tatsuya Muraoka, who Yano reconciles and reconnects with in the music video or the album’s final track “shoes”. Yano’s work has garnered praise in major music publications like The Fader, Billboard, Complex, and Exclaim and the attention of the late Virgil Abloh, Gilles Peterson, and Benji B along with millions of streams on Spotify and Apple Music.

Following a highly acclaimed 2020 which included the release of the debut LP souvenir, collaborations with BADBADNOTGOOD, a double feature on COLORS, and industry praise from The Fader, Billboard, High Snobiety, NME, KCRW and Exclaim, Yano quietly released a cover of Jessica Pratt’s “This Time Around” and took some time away from releasing music to write and record his forthcoming LP, set to release in January of 2023, titled “Portrait of a Dog”. Yano was recently announced as the opening act for the critically acclaimed singer-songwriter Clairo for the last leg of her North American and entirety of her EU/UK tour dates.

Yano’s sophomore LP, Portrait of a Dog, set to release in January of 2023 on Innovative Leisure, is a 12 track exploration of themes present throughout most of Yano’s catalogue – identity as a part of the Japanese-Canadian diaspora, contemplation of different family dynamics, and the intricacies of interpersonal relationships. Portrait of a Dog is a clear departure from Yano’s previous recordings – having established a clear sonic identity throughout the LP’s 12 tracks to tell a clear and succinct collection of stories guided by clear and intentional instrumentals. The LP is produced entirely in collaboration with BADBADNOTGOOD and features guest work from Slauson Malone, Sea Oleena, with string arrangements by Eliza Niemi, Leland Whitty, and Yano himself.

Catalog: IL2091

Release Date: January 27, 2023 Genre: Electronic/R&B/Indie

FOR FANS OF: BADBADNOTGOOD, Nick Hakim, Mk.gee, Holy Hive, River Tiber, Jessica Pratt, Blood Orange, Rhye, The Weeknd, James Blake, Sampha, The XX

THE YUSSEF DAYES EXPERIENCE LIVE AT JOSHUA TREE

(PRESENTED BY SOULECTION)

Yussef Dayes releases LIVE AT JOSHUA TREE, the sound recording from a naturalistic video shot in Joshua Tree, California in collaboration with Soulection. Featuring Venna on sax, Rocco Palladino on bass, Alexander Bourt on percussion and Elijah Fox on keys, the vinyl release of this stellar session includes the exclusive vinyl-only track ‘For My Ladies’.

• Over 750k streams on YouTube & over 1m streams on Spotify

• Includes the vinyl exclusive track ‘For My Ladies’

• Vinyl packaging design by Grammy-nominee Matt De Jong

• Radio support from 6Music, WWFM, KCRW, KEXP and more

• Yussef Dayes vinyl sold on Discogs for +$200

“King Dayes. Unstoppable.” - Bradley Zero “really gorgeous”- Tom Findlay (Groove Armada) “FUCK ME. Where has this sprung from? Amazing. All of it.” - Chris Philps, Jazz FM “Superb release” - Laurent Garnier

For fans of: Yussef Kamaal, Tom Misch, Alfa Mist, Ezra Collective and more.

Release date: 27 Jan 2023 BWOOD0298EP

TRACKLIST:

A1. Raisins Under The Sun (Desert Version)

A2. For My Ladies (Feat. Elijah Fox)

A3. Odyssey

A4. Golden Hour (Feat. Rocco Palladino)

A5. Mystics (Feat. Venna)

A6. Rhythms of Xango (feat. Alexander Bourt )

Brownswood Recordings brownswoodrecordings.com josef@brownswoodrecordings.com

Redeye Worldwide 505 Eno St. Hillsborough, NC, 27278 lanie@redeyeworldwide.com

MEG BAIRD FURLING

DC782 LP/CD Street Date: January 27, 2022

Meg Baird ’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the medium. With Furling, Meg ’s fourth album under her own name, she explores the breadth of her musical fascinations and the environments around them the edges of memory, daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under stars. Furling moves through these varied spaces with the slippery, misty cohesiveness of a dream guided by an ageless, stirring voice that remains singular and unmistakable.

Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s fertile underground music community, Meg ’s solo recordings have constituted just a fraction of her work.

Her first solo LP, the disarmingly out-of-time Dear Companion (2007), saw her carve a quiet, sunlit space away from the flickering swirl of Espers. Since her last solo releases, Seasons on Earth (2011) and Don’t Weigh Down the Light (2015) Meg has lent thunderous drumming, lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the New York Times and made Mojo’s Top Ten Albums of 2016 list. She collaborated with harpist Mary Lattimore on the mesmerizingly hazy Ghost Forests (2018). She’s played drums with Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal arrangements to albums from Sharon Van Etten , Kurt Vile, Will Oldham , and Steve Gunn , and toured with Angel Olson , Dinosaur Jr. , Bill Callahan , Thurston Moore, and Bert Jansch , among others.

Yet Furling is the album that most irreverently explores the span of her work and musical touchstones. It showcases her natural tether to ’60s English folk traditions. But it also reveals her deep love for soul balladry, the dubby Bristol atmospherics of Flying Saucer Attack , the solitary musings of

Neil Young shackled to his piano deep in the foggy pre-dawn, the melancholy memory collage of DJ Shadow ’s Endtroducing, and the delicious, Saturday-night promise of St. Etienne

Furling was primarily recorded at Louder Studios by Tim Green (Bikini Kill , Nation of Ulysses , Melvins , Wooden Shjips). Additional piano and vocal recording were captured at Panoramic Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by Heba Kadry, who mixed Bjork ’s Utopia and mastered LPs for Slowdive, Cass McCombs , and Beach House

For all its adornments, Furling remains deeply intimate. The entire album was performed by Meg and her longtime collaborator, partner, and Heron Oblivion bandmate Charlie Saufley. While her prior solo work hinted at more expansive horizons, Furling explores the idea of Meg Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar, she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect surreal dream montages, graft sunshine sonics to swooning meditations on romantic solidarity in trying times, and weave odes to the simple gestures of friendship and the loss of family and friends.

This rich sound world makes the songs a varied bunch: “Twelve Saints” mates Pacific sunset ambience and Pink Floyd pastoral to a meditation on mortality and escape. The infectious and kinetic “Will You Follow Me Home?” contemplates hope and longing through the looking glass of a Jimmy Miller -era- Stones strut. And in the closing piece, “Wreathing Days,” language disintegrates over tone clusters that feel somewhere between falling and flying.

“Wreathing Days” also reveals much about Meg ’s mastery of contrast situating the dear and delicate adjacent to chaos. And while it’s true that some songs on Furling grapple with humanity’s existential unknowns in stark terms, they primarily revel in the mysteries that hide in nature and humanity at their most ordinary. Furling lives in the notion that whole universes of experience, enlightenment, elation, and ecstasy can bloom in these corners.

GOAT

Oh Death

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates and conducted their affairs strictly by their own code. Invigorated by forces we can only guess at the origins of, ’Oh Death’ is a party to which all are welcome. Blithely waving away easy classification, these heat -hazed serenades are just as comfortable in the headspace of vicious ‘70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless raucous energy. This is an auditory realm where seemingly anything can happen, and the uplifting incandescence of ‘Oh Death’ only multiplies in potency by taking in Thin Lizzy -style twin guitar harmonies (‘Blow The Horns’) a fearless-to-ridicule Antmusic stomp (‘Do The Dance’) and Eddie Hazel style paintstripping fuzz/wah (the opening ‘Soon You Die’) along the way.

Vocal mantras form righteous calls to arms amidst the dancefloor -friendly fury. Yet whilst dealing in the desert -blues drift of 'Passes Like Clouds' or the Tom Tom Club-esque global rhythms of 'Remind Yourself', 'Oh Death' is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next.

A selection of pr ivate press 45s featur ing Nate Young, John Olson, Alex Moskos, Gretchen Gonzales, Aaron Dilloway & Raven Chacon These collaborations between the core Wolf Eyes crew and fr iends was or iginally self-released as a ser ies of super-limited 7” hand painted box sets, but now the core ‘hits’ have been compiled by Disciples for wider consumption

The results are sur pr isingly diverse, from Shor t Hands’ avant-garde rock’n’roll through to the delay-dr unk dr um machine of Time Designers, and the classic Michigan underground audio sprawl of Universal Eyes

A current snapshot of the vast amount of music and ar t that Wolf Eyes and fr iends continue to transmit into the wor ld Limited edition clear vinyl with 16 page booklet

In similar fashion to the recent Maxine Funke compilation on Disciples, this collection also trails a brand new studio album from Wolf Eyes which will be landing ear ly next year.

Tracklisting:

A1. Phone Intro - 1:01

Alexander Moskos, Nathan Young

A2. Short Hands - Dank Boone - 3:19

Alexander Moskos, Nate Young, Johnny Olson

A3. Time Designers - Passive Tempos - 3:39

Nathan Young, Alexander Moskos

A4. Gretchen - Locked Rivers - 3:15

Gretchen Gonzales

A5. Stare Case - Lost Head - 4:24

Nathan Young, Johnny Olson

A6. U Eye Trio - Courted Reverb - 4:17

Gretchen Gonzales, Johnny Olson, Nathan Young

B1. Short Hands - 3rd Night Tax Edit - 4:24

Alexander Moskos, Johnny Olson, Nathan Young

B2. Animal Sounds - Michigan Red Squirrel - 5:55

Alexander Moskos, Nathan Young, Johnny Olson

B3. Wolf Raven - Tulsa Once - 2:48

Raven Chacon, Nathan Young, Johnny Olson

B4. Universal Eyes - Tense Lapse - 3:39

Aaron Dilloway, Gretchen Gonzales, Johnny Olson, Nathan Young

B5. Invisible Thread - Feedback 6 - 4:39

Nathan Young, Johnny Olson

abracadabra 'shapes & colors'

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.

In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”

The by-product of a psychedelic New Year’s Eve escaping a monotonous 2020 reality, the title track itself captures fireworks over East Oakland as viewed from the pair’s couch whilst listening to Mort Garson’s Plantasia for 6 hours straight. The daydream collage of ‘inyo county’ is “a little souvenir taking me back into the bottled-up essence of a slow lazy morning, waking up in bed far from home,” Hannah tells recalling those enforced stay-at-home days. “It fell out of me because I was craving that blissful flavour.” Meanwhile ‘dawn of the age of aquarius’s new parallel reality evolved from a happy accident when their demos had reset to a drone which Jason reworked into a Laurie Anderson-esque breathy vocoder effect. Even bloops and beeps from a forgotten recording session at the Vintage Synthesizer Museum in Emeryville can be heard, where the pair used Mini Moog, Fairlight EMI and ARP 2600 to arrange their sound into shapes whilst distortion and dirt from mixing on 1979 Neve 5313 Console added to the recordings’ color.

Diving into decades of electronica and crunchy sound effects, field recordings and animal sounds, blended with an infectious Latin influence, shapes & colors is bolstered by live percussionists. It shimmies with the charismatic energy of ESG, Tom Tom Club, Lizzy Mercier Descloux, and the dub hits of King Tubby, the melodic sensibilities of Prince, Stereolab, and idiosyncratic Deerhoof offering an ornate alternative to traditional guitar pop chord progressions as they layer wrecking ball-sized danceable motifs to rumble the dust off the cars on the street from the nearby concrete factory. “We take some big swings to create interesting moments,” Chris explains. NIMBY crews grab those earplugs now. abracadabra is your new noisy neighbour, and there’s no turning this party down.

LIFECYCLES VOLUMES 1 & 2

NOW! AND FOREVER MORE HONORING BOBBY HUTCHERSON

Bobby Hutcherson (January 27, 1941 - August 15, 2016) has been an endless source of inspiration for Brian Blade and the LIFECYCLES band members.

In honor of Bobby’s memory, LIFECYCLES has chosen to record his NOW! album in its entirety, two songs from Bobby’s collaborative history with Jackie McLean and Grachan Moncur III and five original compositions by this stunning septet. NOW! AND FOREVERMORE will be available on vinyl and digital formats through the label founded by Brian Blade, Stoner Hill Records and Press.

LIFECYCLES is a band that was formed by three members of The Fellowship Band in 2001, comprised of six musicians living in the New York City metropolitan area at the time and performing under the name Subterranean Sextet, featuring drummer - Brian Blade, pianist - Jon Cowherd, saxophonist - Myron Walden, vibraphonist and vocalist - Monte Croft, guitarist - John Hart and bassist - Doug Weiss.

Back in 2001, the sextet mostly played in underground night clubs around Manhattan, but there were various festival appearances throughout the country.

All the members of the band had composed music specifically for the ensemble, but unfortunately, they did not record, until now. In 2018, they decided to reconvene and expand the band to include percussionist - Rogerio Boccato and to record the their original compositions and the music of one of our heroes, the great vibraphonist, marimba player and composer, Bobby Hutcherson.

LIFECYCLES had hoped to record with Bobby Hutcherson, but sadly, he passed away in August of 2016.

The recording is titled LIFECYCLES Volumes I & II NOW! AND FOREVERMORE honoring BOBBY HUTCHERSON it will be available on vinyl and digital formats through the label founded by Brian Blade, Stoner Hill Records and Press.

JANUARY

moment is a gift. Each moment has richness, complexity, and singularity. Once it’s gone, it can’t be recaptured. Can you be present? Can you open yourself up and appreciate it in its fullness — the ugliness and confusion as well as the beauty and joy? The members of the Brooklyn, NY psychedelic rock quintet GIFT believe you can. Momentary Presence, their debut set, is a chronicle of that chase, and a celebration of the eternal now.

The album also introduces TJ Freda as a sorcerous and versatile home-recording engineer. He can get guitars and synths to melt all over the track as he does on “Gumball Garden,” he can summon the ravishing sweep of “Share the Present,” and he can conjure a track as radiant as “Feather,” all in the confines of his Brooklyn apartment.

They’ve been selling out shows in Brooklyn for awhile now. It's only a matter of time before the rest of the world catches on. This message, this music — this GIFT — is for everyone.

PITCHFORK (7.2)

2. When You Feel It Come Around Gumball Garden Share The Present Lost for You Pez Stuck in a Dream Dune Feather Pinkhouse Secret Rave Here and Now (Time Floats By)

3. 4 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. RIYL: Spiritualized, Tame Impala, Wand Brian Jonestown Massacre LP RED DREAM VINYL ITEM NUMBER: DED-014 UPC: 634457103917 PACKAGING: Full Color LP BOX LOT: 30

NYC's buzziest psychedelic rock band. Recently toured with Frankie & The Witch Fingers and Nation of Language, upcoming tours with Hooveriii (2/22) and European (3/22). Debut album on Oliver Ackermann's (A Place To Bury Strangers/Death By Audio) new label Dedstrange. Played the New Colossus Festival 22 and named one of Rolling Stones “Best Things We Saw” at SXSW 22.

PR:

Pitch Perfect

Strut revives a lost recording from the archives in January with a 2002 collaboration between acclaimed South African folk singer Vusi Mahlasela, singer songwriter Norman Zulu and Swedish jazz / soul collective Jive Connection.

The links between South Africa and Sweden have long been strong with Sweden one of the most supportive European nations in the struggle against apartheid; the government helped to fund the ANC for decades and Mandela visited the country on one of his first European stops following his release from prison in 1990.

Sotho folk singer Vusi Mahlasela, dubbed “The Voice” Of South Africa, performed at Mandela’s inauguration in 1994 and has enjoyed his own long relationship with Sweden, regularly embarking on cultural exchanges and forging a strong bond with the Jive Connection band, featuring guitarist / bassist Stefan Bergman and Little Dragon drummer Erik Bodin within its line-up.

Although touring regularly, the collaboration has rarely been documented beyond a lone studio album in 1994. This “lost” recording, discovered in the archives of producer Torsten Larsson, also features songwriter / vocalist Norman Zulu and showcases their natural musical chemistry together. Vusi’s songs have traditionally addressed the struggle for freedom and the need for reconciliation and, here, his lyrics are as powerful as ever, ranging from parables (‘Prodigal Son’) to an unflinching lament on child abuse (‘Faceless People’). Jive Connection vary the soundtrack, bringing in hints of reggae, jazz and post-punk alongside traditional township arrangements

Face To Face is mastered by The Carvery. Artwork features unseen photos from the album sessions along with full lyrics Produced in association with Torsten Larsson

LP & CD TRACKLIST

Essential document of long-running collaboration between Sotho folk singer Vusi Mahlasela and Swedish band Jive Connection First ever release of 2002 session, recorded in Varberg, Sweden Artwork includes unseen photos from the studio sessions Audio fully remastered by The Carvery

•

CD STREET DATE

Jan. 27, 2023

Mansur Brown returns with the

NAQI Mixtape

- a vinyl release that combines both NAQI EPs from earlier in the year. Side A was made for the summer – hard hitting drums and low-end sub, whereas side B is more for the winter – introspective songs that are cinematic and otherworldly in sound.

OVERVIEW

WITCH was the first band in Zambia to release a commercial album — 1973’s “Introduction”. Blending the rock and roll sounds of the late 60’s and early 70’s together with more traditional, African rhythms, WITCH pioneered a new genre dubbed Zamrock, and during their brief, yet prolific early existence, WITCH (an acronym for We Intend To Cause Havoc) released 7 albums and were the most revered band in the country.

“Waile” is WITCH’s first new song since 1984, and their first with original frontman & co-founder Emmanuel “Jagari” Chanda since 1977. The track was a staple of their 70’s live set, but was never recorded until the band’s reunification. The b-side is titled “Waile (Midnight Version)”. While on tour in the UK, the band took the original stems from “Waile” and reworked them, adding synths and more in studio.

This is also this the first release from our new label partners Desert Daze Sound!

first new music from WITCH in 3 and a half decades

This live staple finally gets a proper studio recording

Limited edition of 500 for the world

Jòhann Jòhannsson Mandy (Original Motion Picture Soundtrack)

• After selling out on all formats, this stunning album has been repressed on stunning ltd edition violet vinyl!

• Before his death, Icelandic composer Jóhann Jóhannsson scored the critically acclaimed horror film Mandy. This was Jóhannsson’s final score.

• The Mandy score was co-produced by Jóhann and Randall Dunn. It features Sunn O)))’s Stephen O’Malley on guitar. The album was later assembled with the help of co-producers Pepijn Caudron and Yair Glotman.

• Jóhann Jóhannssonn is recognised as one of the best modern film composers. His score to ‘The Theory Of Everything’ won a Golden Globe for Best Original Score and was nominated for the same Academy Award, whilst his stunning work on ‘Sicario’ also earned him the Academy Award nomination for best score. His other notable works include ‘Arrival’, ‘Prisoners’ and ‘The Mercy’.

• Directed by Panos Cosmatos and starring Nicholas Cage, Mandy is about a man who hunts the religious sect responsible for killing his wife.

• Housed in a deluxe gatefold sleeve with beautiful UV gloss spot print and paper band.

Track listing:

Four White Heifers with Sprawling Hooves On the Up-Platform at Morpeth Station From Above the Moon to Below the Fishes Wheat Stands in Excrement Trembling (Gondola No Uta)

Chickpea to Cook

The story of Hen Ogledd (Welsh for Old North), one of Britain’s more colorful and unusually unpredictable contemporary bands, begins with this duo recording of Richard Dawson and Rhodri Davies, first released in 2013 on an LP in an edition of 250 copies by the Alt.vinyl imprint. This Streamline edition is its first-ever CD release.

Hailing from Newcastle, Richard Dawson should not need any introduction, as he has made his name with numerous solo and collaborative outings, while Welshman Rhodri Davies, known for his involvement with the British school of reductionist free improvisation, has collaborated with and performed for a great number of improvisers and composers.

Guitar playing singer/songwriter Dawson met with Davies (who is featured here on pedal harp, amplified lap harp, electric harp, percussion and electronics) to produce these five pieces of heavily distorted improvisation that veer refreshingly away from any academic background one might expect at such an encounter. Instead we find a highly energetic blend of lo-fi rock, improvisation and imaginary folklore that suggests jam sessions between Captain Beefheart ’s legendary Magic Band and Northern English noise champions The New Blockaders. While this analogy does not seem fully satisfactory and one struggles for words for an appropriate reference, the uniqueness of Hen Ogledd becomes apparent once again. The fact that Hen Ogledd has already become its own best reference here should speak for itself.

Hen Ogledd has been remastered for CD from the original source recordings by Jim O’Rourke and is presented in mini-LP sleeves replicating the original LP artwork.

Track listing: Ancient Data Gondoliers Beyond Belief Amputated Video Gwawr in Reverse Get My Name Right or Get Out!

In combination with the Dawson-Davies Hen Ogledd CD release, Streamline is glad to present the first-ever CD issue of Bronze, the second Hen Ogledd album, originally released in 2016 as a small edition LP pressing on the Alt.vinyl label. At first considered an unlikely meeting of the minds of singer/painter/guitarist Richard Dawson and reductionist, free improvising Welsh harpist Rhodri Davies, Hen Ogledd reappear as a trio this time including the talent of Dawn Bothwell (voice and electronics). As unusual as the sounds contained in these recordings is the development the band has taken, from the abrasive amped directness of the first album to this avant-folk excursion evoking both ancient and contemporary qualities. These six hypnotic pieces of distorted improvised folklore ranging from archaic, electrified stomping pulses to the floaty sounds of echoed harp and guitar strings and fragile, ghostly vocal choruses represent an important step in the development of one of Britain’s most unusual and unpredictable outfits as well as a singular completely unique musical expression.

Hen Ogledd’s Bronze has been remastered for CD from the original source recordings by Jim O’Rourke and is presented in mini-LP sleeves replicating the original LP artwork.

OVERVIEW

Mount Fuji towers over Norwegian forests. At the top, the lovechild of Led Zeppelin and Tame Impala brews up a colorful progrock storm. Get ready to ride the whirlwind of a debut album from MesaVerde!

The quartet consists of experienced musicians with everything from stadium concerts in Hong Kong, dusty British rock clubs, to the National Theater among their merits. Jørgen Apeness (Sauropod, Thea & The Wild, Lazy Queen), Lars Fremmerlid (Bugge Wesseltoft, Einar Stray Orchestra), Henrik Schmidt (Synne Sanden, Shimmering) have headhunted the shooting star Jonas Lundekvam as vocalist and lyricist.

The debut album "KY" (the Japanese term for not being able to read the room) is a journey for the listener. The record spans from dreamy, atmospheric soundscapes to playful, fast-paced, virtuos sections. The lyrics tackle the prejudiced stories we tell each other. Our limited worldviews. But "KY" is not a dystopian document, but a tribute to those who free us from chaos to truth and an open mind

MARKETING & PROMOTION / SELLING POINTS

For fans of Norwegian prog rock and indie pop

Debut album from these rockers from Oslo, Norway.

Limited edition LP on white vinyl

Band website: www.facebook.com/MesaVerdeOfficial Label website: www.apollonrecords.no Listening link: promo.theorchard.com/M8ko8NbJoK9zVUGHKDKc?skin=light For interviews / info / press contact: robin@karismarecords.no

Dark Essence Records Nygårdsgaten 2 5015 Bergen Norway

www.darkessencerecords.no post@karismarecords.no

Band: T.O.M.B. Title: ”Terror Winds” Label: Dark Essence Records CD-KAR-243 / LP-KAR-243 Barcode: 7090008312437 / 7090008312956

Format: CD / LP

Tracklist:

1. Terror Winds 2. In the Ugly Dark 3. Wraiths 4. Hatred to All 5. Frost Tyrants 6. Reincarnation

"Terror Winds", the latest album from T O M B is the storming f ollow-up to "The Thin Veil", which was released in 2020 on Dark Essence Records. "Terror Winds" sees T.O.M.B. return to their graveyard roots with six tracks that reek with the stench of old, raw, blasphemous black metal, infested with a spellbinding symphonic ambience, and necromantic noise soundscapes.

Terror Winds serves as an epic progression for the band - and promises to indulge the listener with an album that is aut hentic in its dangerous feel of early 90s black metal, while entrancing the senses with a powerful wave of ambient keyboards and classic cryptic T.O.M.B. noise.

The album was recorded live at the Ossuary Studios in New York City, and mastered by Tore Stjerna at Necromorbus Studios in Sweden

Over the course of the band’s 20+ years of history, T.O.M.B. has continuously crossed the boundaries of extreme music by craft ing together elements of dark ambient, doom, death industrial and power electronics into a unique style of terrifying black metal noise It is a style that has earned the band a well-deserved place as one of the top innovators of modern-day Black Metal.

Overview:

- Necromantic maestros T.O.M.B. are back with their most blasphemous album yet.7 th full-length album from T.O.M.B. Live recorded at Ossuary Studios in NYC. - Album mastered by Necromorbus Studios in Sweden.

- Album art by artist Nestor Avalos.

- For fans of: Mayhem, Imperial Triumphant, Deathspell Omega, Gnaw Their Tongues, Portal.Singles: In the Ugly Dark (21/10), Hatred to All (10/11) Label website: www.darkessencerecords.no

For interviews, info & promo material, contact Karisma Records and Martin Kvam: e-mail: post@karismarecords.no / tel: +47 95 74 92 19

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