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1
Karl D’Silva - 1. On The Outside
2
Karl D’Silva - 2. Entropy
3
Karl D’Silva - 3. Wild Kiss
4
Karl D’Silva - 4. Flowers Start To Cry
5
Karl D’Silva - 5. The Crucible
6
Karl D’Silva - 6. Nowhere Left To Run
7
Karl D’Silva - 7. Real Life
8
Karl D’Silva - 8. Shine Brightly
9
Karl D’Silva - 9. The Butcher
10
Karl D’Silva - 10. Love Is A Flame In The Dark
territories:WW-US,CA,UK, BENELUX
Black Vinyl LP
Tracklist
1. On The Outside
2. Entropy
3. Wild Kiss
4. Flowers Start To Cry
5. The Crucible
6. Nowhere Left To Run
7. Real Life
8. Shine Brightly
9. The Butcher
10. Love Is A Flame In The Dark
Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering
spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose
reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in
Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life
head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for
himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil,
they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously
sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and
guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away
and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege
and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with
the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all
played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically
thrilling world-building on the album but the most striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre
resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover
Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated
on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming
that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s
Karl D’Silva music; pure physicality breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of
personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound
design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging
from the dark. It’s a theme picked up throughout the album: The Butcher is a political parable, the narrator holding power to
account with grotesque, brutal imagery. It’s on a track like Real Life that the true message emerges, however. D’Silva is peering
through the layers of artifice, struggle and the fog of daily living to find a life full of energy, connection and light. Each song here
is a route into this light, out of the darkness. More
Black Vinyl LP
Tracklist
1. On The Outside
2. Entropy
3. Wild Kiss
4. Flowers Start To Cry
5. The Crucible
6. Nowhere Left To Run
7. Real Life
8. Shine Brightly
9. The Butcher
10. Love Is A Flame In The Dark
Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering
spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose
reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in
Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life
head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for
himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil,
they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously
sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and
guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away
and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege
and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with
the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all
played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically
thrilling world-building on the album but the most striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre
resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover
Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated
on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming
that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s
Karl D’Silva music; pure physicality breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of
personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound
design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging
from the dark. It’s a theme picked up throughout the album: The Butcher is a political parable, the narrator holding power to
account with grotesque, brutal imagery. It’s on a track like Real Life that the true message emerges, however. D’Silva is peering
through the layers of artifice, struggle and the fog of daily living to find a life full of energy, connection and light. Each song here
is a route into this light, out of the darkness. More
More records from Night School Records
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1
Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
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Mope Grooves - No Title
2LP, LTD 500 , Black Vinyl -- Territories: WW-US,CA,UK,FR,BENELUX
The final album from stevie’s Mope Grooves,
the seminal Portland collective. A 2 hour, 27
track masterpiece of touching, warped music
that transcends genre into a realm of pure
inspiration.
All profits from this release will be donated to
Survived and Punished charity.
Tracklist:
1.Controlled Burn
2.Aileen
3.Pieces Of God
4.Forever Is A Long Time 03:19
5.Do You Hear Music
6.Home Sick
7.We Won
8.Swail
9.Here Comes The Moon
10.Hallway Of Crucified Angels
11.Fox Highway
12.Harp Circles
13.Wind Follows Me Home
14.Cap Hits The Button
15.Si Fuese Violeta
16.Wall Of Swords
17.Switch Cars
18.Continue & Intensify
19.Les Anges Passent
20.Here Comes The Rain
21.Turning Fire
22.Simple As That
23.Life Is Good
24.Dora
25.Isn't It Hard
26.Tired All The Time
27.Box Of Dark Roses
Through the fog of our grief in the wake of the earth-shattering loss of our beloved angel Stevie, on this
day which would have been her 35th birthday, we announce the release of Mope Groove’s final album; Box
of Dark Roses. A 27 song, 2XLP of songs that Stevie prepared for release before she left. In addition to the
music, Stevie provided extensive liner notes to accompany the album. These are included with the album in
the form of a zine, or as a digital PDF, respectively.
"If i'm ever hard to get a hold of u can find my whole heart in here."
-Stevie (from her liner notes)
Rest in peace sweet angel. We love you forever.
Stevie provided the following statement on the album before her departure:
"all artist profits and digital proceeds will be redistributed in perpetuity to incarcerated or formerly
incarcerated survivors of sexual assault and domestic violence, especially the many women and other
gender marginalized ppl incarcerated for defending themselves against their attackers. funds will be
allocated to the Survived and Punished NY Mutual Aid Fund, a comparable organization, or directly into
commissary funds or fundraisers of incarcerated survivors.
"box of dark roses is a 27 song LP where the same images repeat and repeat until you might have some
idea of what roses have to do with armed struggle, trans autonomy, losing your house (again), angels,
women political prisoners, violence returned to sender, suicided poets, refusing to recant, insisting on life,
& how the revenge of twenty billion screaming ghost women could unmake the worst of all possible
worlds” More
The final album from stevie’s Mope Grooves,
the seminal Portland collective. A 2 hour, 27
track masterpiece of touching, warped music
that transcends genre into a realm of pure
inspiration.
All profits from this release will be donated to
Survived and Punished charity.
Tracklist:
1.Controlled Burn
2.Aileen
3.Pieces Of God
4.Forever Is A Long Time 03:19
5.Do You Hear Music
6.Home Sick
7.We Won
8.Swail
9.Here Comes The Moon
10.Hallway Of Crucified Angels
11.Fox Highway
12.Harp Circles
13.Wind Follows Me Home
14.Cap Hits The Button
15.Si Fuese Violeta
16.Wall Of Swords
17.Switch Cars
18.Continue & Intensify
19.Les Anges Passent
20.Here Comes The Rain
21.Turning Fire
22.Simple As That
23.Life Is Good
24.Dora
25.Isn't It Hard
26.Tired All The Time
27.Box Of Dark Roses
Through the fog of our grief in the wake of the earth-shattering loss of our beloved angel Stevie, on this
day which would have been her 35th birthday, we announce the release of Mope Groove’s final album; Box
of Dark Roses. A 27 song, 2XLP of songs that Stevie prepared for release before she left. In addition to the
music, Stevie provided extensive liner notes to accompany the album. These are included with the album in
the form of a zine, or as a digital PDF, respectively.
"If i'm ever hard to get a hold of u can find my whole heart in here."
-Stevie (from her liner notes)
Rest in peace sweet angel. We love you forever.
Stevie provided the following statement on the album before her departure:
"all artist profits and digital proceeds will be redistributed in perpetuity to incarcerated or formerly
incarcerated survivors of sexual assault and domestic violence, especially the many women and other
gender marginalized ppl incarcerated for defending themselves against their attackers. funds will be
allocated to the Survived and Punished NY Mutual Aid Fund, a comparable organization, or directly into
commissary funds or fundraisers of incarcerated survivors.
"box of dark roses is a 27 song LP where the same images repeat and repeat until you might have some
idea of what roses have to do with armed struggle, trans autonomy, losing your house (again), angels,
women political prisoners, violence returned to sender, suicided poets, refusing to recant, insisting on life,
& how the revenge of twenty billion screaming ghost women could unmake the worst of all possible
worlds” More
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Cat-No:LSSN096GLOW
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1
Tristwch y Fenywod - 1. Blodyn Gwynedd
2
Tristwch y Fenywod - 2. Ferch Gyda’r Llygaid Du
3
Tristwch y Fenywod - 3. Y Trawsnewidiad
4
Tristwch y Fenywod - 4. Llwydwyrdd
5
Tristwch y Fenywod - 5. Byd Mewn Cysgod
6
Tristwch y Fenywod - 6. Gelain Görs
7
Tristwch y Fenywod - 7. Awen
8
Tristwch y Fenywod - 8. ‘Nes I Ddawnsio Efo’r Lleuad
territories:WW-US,CA,UK, BENELUX
LIMITED GLOW-IN-THE-DARK VINYL REPRESS DUE TO THE RAPID SELLING OUT OF THE FIRST PRESSING!!
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
LIMITED GLOW-IN-THE-DARK VINYL REPRESS DUE TO THE RAPID SELLING OUT OF THE FIRST PRESSING!!
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
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CD
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
CD
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
CD Excl
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CD
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
CD
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
LP Excl
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Label:Night School Records
Cat-No:LSSN096
Release-Date:20.09.2024
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Barcode:5061041820526
1
Tristwch y Fenywod - 1. Blodyn Gwynedd
2
Tristwch y Fenywod - 2. Ferch Gyda’r Llygaid Du
3
Tristwch y Fenywod - 3. Y Trawsnewidiad
4
Tristwch y Fenywod - 4. Llwydwyrdd
5
Tristwch y Fenywod - 5. Byd Mewn Cysgod
6
Tristwch y Fenywod - 6. Gelain Görs
7
Tristwch y Fenywod - 7. Awen
8
Tristwch y Fenywod - 8. ‘Nes I Ddawnsio Efo’r Lleuad
territories:WW-US,CA,UK, BENELUX
Black Vinyl LP, LTD 400
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
Black Vinyl LP, LTD 400
Tracklist
1. Blodyn Gwynedd
2. Ferch Gyda’r Llygaid Du
3. Y Trawsnewidiad
4. Llwydwyrdd
5. Byd Mewn Cysgod
6. Gelain Görs
7. Awen
8. ‘Nes I Ddawnsio Efo’r Lleuad
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’ experimental underground, the trio consist of Gwretsien Ferch
Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The
Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just
10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the
Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and
bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial
rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the
waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric,
occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony
around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal parts
Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can
Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass
and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical
theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album,
particularly on Ferch Gyda’r Llygaid Du’s heavy funereal sway and the slowly building, paroxysmal banshee
breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023. More
LP Excl
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Label:Night School Records
Cat-No:LSSN097
Release-Date:20.09.2024
Configuration:LP Excl
Barcode:5061041820533
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Cat-No:LSSN097
Release-Date:20.09.2024
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Barcode:5061041820533
1
Molly Nilsson - 1. Prologue - Proud Destiny
2
Molly Nilsson - 2. Excalibur
3
Molly Nilsson - 3. Palestine
4
Molly Nilsson - 4. Jackboots Return
5
Molly Nilsson - 5. Wetcheeks
6
Molly Nilsson - 6. Red Telephone
7
Molly Nilsson - 7. Naming Names
8
Molly Nilsson - 8. The Communist Party
9
Molly Nilsson - 9. The Beauty Of The Duty
10
Molly Nilsson - 10. Point Doom
territories:WW-US,CA,UK, BENELUX
Black Vinyl LP, LTD 400
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
Black Vinyl LP, LTD 400
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
LP Excl
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Label:Night School Records
Cat-No:LSSN097X
Release-Date:20.09.2024
Configuration:LP Excl
Barcode:5061041820618
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Last in:29.08.2024
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Label:Night School Records
Cat-No:LSSN097X
Release-Date:20.09.2024
Configuration:LP Excl
Barcode:5061041820618
1
Molly Nilsson - 1. Prologue - Proud Destiny
2
Molly Nilsson - 2. Excalibur
3
Molly Nilsson - 3. Palestine
4
Molly Nilsson - 4. Jackboots Return
5
Molly Nilsson - 5. Wetcheeks
6
Molly Nilsson - 6. Red Telephone
7
Molly Nilsson - 7. Naming Names
8
Molly Nilsson - 8. The Communist Party
9
Molly Nilsson - 9. The Beauty Of The Duty
10
Molly Nilsson - 10. Point Doom
territories:WW-US,CA,UK, BENELUX
Limited White Vinyl LP, LTD 400
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
Limited White Vinyl LP, LTD 400
Tracklist
1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom
Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope. More
Label:Night School Records
Cat-No:LSSN092
Release-Date:19.07.2024
Configuration:LP Excl
Barcode:5061041820373
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1
Amery - Mountain FM
2
Amery - Hotwire The Nite
3
Amery - Spirit Is Broken
4
Amery - Ennui
5
Amery - Miracles
6
Amery - Rocker Blues
7
Amery - C9 (with Fireball Kid)
8
Amery - Continue As Amery
territories:WW-US,CA,UK, BENELUX
1. Mountain FM
2. Hotwire The Nite
3. Spirit Is Broken
4. Ennui
5. Miracles
6. Rocker Blues
7. C9 (with Fireball Kid)
8. Continue As Amery
Continue As Amery is the debut album by Montreal-based artist Amery. Formerly recording under the moniker Alpen Glow, Continue As Amery sees the songwriter step out into a bold, colourful world full of pop hooks, snagging feelings of abandon and the mornings after.
Amery Sandford began releasing as Alpen Glow in 2020 after years playing in punk groups in Newfoundland and as half of Montreal pop duo Born At Midnite (Arbutus). Recorded in Montreal by David Carriere (TOPS, Marci), Patrick Holland, and Kristian North, Continue As Amery is a blast of melodic joie de vivre. On her debut Sandford brings her punk and DIY credentials into sharp focus on 8 perfect pop odes to city living, making mistakes and figuring it out as you go along. Suffuse with powerful imagery and an almost uncanny talent at spinning out hooks brimming with humour and spirit, Amery’s soundworld is informed by friendship, experience and by her day job as a renowned illustrator and visual artist. Beginning Alpen Glow in a spirit of fun and now shedding the alias, Amery’s ready to hotwire the nite.
Each song is rich with story. Mountain FM, named for the radio station in Sandford’s home town in the mountains of Alberta, launches into a tale of speeding, blasting the radio too loud, the giddy burning of rubber with no care in the world to slow you down. Featuring live band members Sarah Harris, Jack Bielli, and Frank Climenhage, the singer bristles to get out of her stifling hometown while lamenting the wide eyed adventurer who left for the big city. On Hotwire The Nite, Amery is out on the town, with imagery loaded with the night’s promise. Amery sings “Black candle / Dripping intel / Dagger hanging by an emerald handle / Holy roller that I just can’t have without my hand on an old flame,” diving in and out of fantasy and desire over a pulsating banger. Moments like these feel like a thesis on aural pleasure, with the production sleek and silky playfulness persisting throughout.
Spirit Is Broken is a pep talk the artist is giving herself in the mirror. Only Amery could write something so joyous and harmonically glorious while singing about low ebbs. Every line shines with humour, the chorus starting with an exasperated “oh my god, alright” and the refrain nailing the bittersweet feeling of enjoying feeling down. It’s a mood continued on slow groover Ennui, a melter striking out at being stuck; same parties, same faces, daring to dream beyond.
As an illustrator and visual artist, Sandford’s images detail dancing instrument-clad animals, party scenes that nod to historical image making heavy hitters like Hieronymus Bosch and Ludwig Bemelmans. On Miracles, Amery deals in bold pop production and her yearning to escape into fantasy, given wings by Korgs and drum machines. On Rocker Blues, originally by French artist FR David, Amery brings the heavy with synth-guitar and an undeniable chorus. C9 is in some ways the album’s centrepiece, a mid tempo funk jam and duet with Montreal stalwart Fireball Kid, it’s the party just out of reach on the horizon.
The thing about Cloud 9 is that on the comedown you might get a hella lot of rain. The world Amery builds is intoxicating, rich and most importantly open for anyone to fall into. To be continued… More
1. Mountain FM
2. Hotwire The Nite
3. Spirit Is Broken
4. Ennui
5. Miracles
6. Rocker Blues
7. C9 (with Fireball Kid)
8. Continue As Amery
Continue As Amery is the debut album by Montreal-based artist Amery. Formerly recording under the moniker Alpen Glow, Continue As Amery sees the songwriter step out into a bold, colourful world full of pop hooks, snagging feelings of abandon and the mornings after.
Amery Sandford began releasing as Alpen Glow in 2020 after years playing in punk groups in Newfoundland and as half of Montreal pop duo Born At Midnite (Arbutus). Recorded in Montreal by David Carriere (TOPS, Marci), Patrick Holland, and Kristian North, Continue As Amery is a blast of melodic joie de vivre. On her debut Sandford brings her punk and DIY credentials into sharp focus on 8 perfect pop odes to city living, making mistakes and figuring it out as you go along. Suffuse with powerful imagery and an almost uncanny talent at spinning out hooks brimming with humour and spirit, Amery’s soundworld is informed by friendship, experience and by her day job as a renowned illustrator and visual artist. Beginning Alpen Glow in a spirit of fun and now shedding the alias, Amery’s ready to hotwire the nite.
Each song is rich with story. Mountain FM, named for the radio station in Sandford’s home town in the mountains of Alberta, launches into a tale of speeding, blasting the radio too loud, the giddy burning of rubber with no care in the world to slow you down. Featuring live band members Sarah Harris, Jack Bielli, and Frank Climenhage, the singer bristles to get out of her stifling hometown while lamenting the wide eyed adventurer who left for the big city. On Hotwire The Nite, Amery is out on the town, with imagery loaded with the night’s promise. Amery sings “Black candle / Dripping intel / Dagger hanging by an emerald handle / Holy roller that I just can’t have without my hand on an old flame,” diving in and out of fantasy and desire over a pulsating banger. Moments like these feel like a thesis on aural pleasure, with the production sleek and silky playfulness persisting throughout.
Spirit Is Broken is a pep talk the artist is giving herself in the mirror. Only Amery could write something so joyous and harmonically glorious while singing about low ebbs. Every line shines with humour, the chorus starting with an exasperated “oh my god, alright” and the refrain nailing the bittersweet feeling of enjoying feeling down. It’s a mood continued on slow groover Ennui, a melter striking out at being stuck; same parties, same faces, daring to dream beyond.
As an illustrator and visual artist, Sandford’s images detail dancing instrument-clad animals, party scenes that nod to historical image making heavy hitters like Hieronymus Bosch and Ludwig Bemelmans. On Miracles, Amery deals in bold pop production and her yearning to escape into fantasy, given wings by Korgs and drum machines. On Rocker Blues, originally by French artist FR David, Amery brings the heavy with synth-guitar and an undeniable chorus. C9 is in some ways the album’s centrepiece, a mid tempo funk jam and duet with Montreal stalwart Fireball Kid, it’s the party just out of reach on the horizon.
The thing about Cloud 9 is that on the comedown you might get a hella lot of rain. The world Amery builds is intoxicating, rich and most importantly open for anyone to fall into. To be continued… More
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Cat-No:LSSN026R
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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Black Vinyl
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
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Release-Date:07.06.2024
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1
Molly Nilsson - 1. Summer Cats
2
Molly Nilsson - 2. Perfect Past
3
Molly Nilsson - 3. Punks In Paradise
4
Molly Nilsson - 4. Plaza Italia
5
Molly Nilsson - 5. Blue Dollar
6
Molly Nilsson - 6. Maximo Says
7
Molly Nilsson - 7. Bar Roma
8
Molly Nilsson - 8. Malaysian Airlines
LP - Limited White VInyl Version
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Territory: WW-US-UK-FR-BNLX
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.
Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.
Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.
Tracklist:
1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines More
Label:Night School Records
Cat-No:LSSN095
Release-Date:26.04.2024
Configuration:LP Excl
Barcode:5061041820403
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Barcode:5061041820403
1
Yuching Huang - 1. Fly! Little Black Thing
2
Yuching Huang - 2. Love
3
Yuching Huang - 3. Confessions From A Soul
4
Yuching Huang - 4. Thoughts
5
Yuching Huang - 5. Thunder In Heaven
6
Yuching Huang - 6. In My Room
7
Yuching Huang - 7. The Song Of Summer
8
Yuching Huang - 8. JohnJohn
9
Yuching Huang - 9. Alright
10
Yuching Huang - 10. You, An Illusion
LP - The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
1. Fly! Little Black Thing
2. Love
3. Confessions From A Soul
4. Thoughts
5. Thunder In Heaven
6. In My Room
7. The Song Of Summer
8. JohnJohn
9. Alright
10. You, An Illusion
The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar
work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a
hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal
style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.
The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal
performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration
and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little
else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding,
the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the
imagination.
On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat
floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and
Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s
third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world
reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether
with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new
perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened
mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing
smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly
at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian
60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes
Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by
Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between
people where desires, feelings and loss hangs in the air, resolute and unresolved. More
1. Fly! Little Black Thing
2. Love
3. Confessions From A Soul
4. Thoughts
5. Thunder In Heaven
6. In My Room
7. The Song Of Summer
8. JohnJohn
9. Alright
10. You, An Illusion
The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar
work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a
hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal
style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.
The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal
performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration
and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little
else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding,
the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the
imagination.
On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat
floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and
Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s
third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world
reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether
with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new
perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened
mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing
smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly
at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian
60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes
Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by
Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between
people where desires, feelings and loss hangs in the air, resolute and unresolved. More
2LP Excl
in stock
Label:Night School Records
Cat-No:LSSN091
Release-Date:20.04.2024
Configuration:2LP Excl
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1
Sorrow - Soldier
2
Sorrow - Love Dies
3
Sorrow - Turn Off The Light
4
Sorrow - Haunting
5
Sorrow - Fear Becomes You
6
Sorrow - October Faul
7
Sorrow - Wishing Stone
8
Sorrow - Nomadic Man
9
Sorrow - Epiphany
10
Sorrow - Angel
11
Sorrow - Sleep Now Forever
2LP, LTD 500 , Black Vinyl - RSD 2024 , DO NOT SELL BEFORE 20.04.2024 - Territories: WW-US,UK,FR
1. Soldier
2. Love Dies
3. Turn Off The Light
4. Haunting
5. Fear Becomes You
6. October Faul
7. Wishing Stone
8. Nomadic Man
9. Epiphany
10. Angel
11. Sleep Now Forever
Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted
by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk
music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal
performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep
Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work
to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which
struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s
troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only,
original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release,
Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist
Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed
and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an
array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan
Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve
around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable
and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe
and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this
beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and
redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier
benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and
percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency
dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching
lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with
chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s
psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally
resurfacing from the darkness.
Sleep Now Forever is being released on 2LP on April 20th, 2024. Limited to 500. More
1. Soldier
2. Love Dies
3. Turn Off The Light
4. Haunting
5. Fear Becomes You
6. October Faul
7. Wishing Stone
8. Nomadic Man
9. Epiphany
10. Angel
11. Sleep Now Forever
Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted
by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk
music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal
performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep
Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work
to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which
struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s
troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only,
original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release,
Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist
Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed
and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an
array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan
Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve
around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable
and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe
and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this
beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and
redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier
benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and
percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency
dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching
lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with
chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s
psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally
resurfacing from the darkness.
Sleep Now Forever is being released on 2LP on April 20th, 2024. Limited to 500. More
LP Excl
backorder
Label:Night School Records
Cat-No:LSSN090
Release-Date:12.04.2024
Configuration:LP Excl
Barcode:5061041820168
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Cat-No:LSSN090
Release-Date:12.04.2024
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Barcode:5061041820168
1
The Space Lady - All Shook Up
2
The Space Lady - Slapback Boomerang
3
The Space Lady - Puttin’ On The Ritz
4
The Space Lady - Radar Love
5
The Space Lady - 20th Century Fox
6
The Space Lady - Shakin’ All Over
Mini LP, LTD 500 , Clear Vinyl - RSD 2024, No sales to UK,USA,FR, Benelux
1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over
Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.
The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.
The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.
A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.
The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500. More
1. All Shook Up
2. Slapback Boomerang
3. Puttin’ On The Ritz
4. Radar Love
5. 20th Century Fox
6. Shakin’ All Over
Since her re-discovery in 2013 via cult favourite The Space Lady’s Greatest Hits, The Space Lady’s mission of galactic
peace and celestial harmony has grown into a world-wide underground phenomenon. Recorded in 1990, The Space
Lady’s original repertoire is a parallel universe greatest hits: songs familiar are transmogrified into shimmering bliss
while new compositions amplify the message. The Space Lady’s Other Hits, released on April 20th for Record Store Day
2024, constitutes the songs recorded by Susan “The Space Lady” Dietrich Schneider as part of that repertoire that
never made the original Greatest Hits, save for a limited bonus CD on the first CD pressing. Remastered by Mikey Love
for vinyl, The Space Lady’s Other Hits completes the picture.
The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing
versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her
accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter, delay pedal and headset
mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its
leading exponents ever since.
The Space Lady’s Other Hits were recorded as they were played on the street, live, one-take, with Schneider playing, singing
and simultaneously manipulating the various effects. Beginning with Elvis Presley’s iconic All Shook Up, the walking bassline
underpinning the vocal, phasing in and out of this dimension, providing a fragile, extraterrestrial shadow to Presley’s original
lust-driven performance. Slapback Boomerang is an original composition, written by Schneider’s then-husband Joel Dunsany
a Rock ’n’ Roll pounder that could have been performed by The Cramps, its tale of relationship turmoil changed into a
meditation on the nature of echo and feedback. There are moments where Schneider performs vocal caesuras, swimming in
delay and phase for the pleasure of it, a pantomime drama performance that rings out. Closing Side B, Puttin’ On The Ritz is
Irving Berlin’s 20s smash hit manipulated into a sombre ballad with its latent class struggle narrative brought to the fore.
A staple of The Space Lady’s performances to this day, Golden Earring’s 70s global hit Radar Love retains something of the
original’s driving gallop but in The Space Lady’s telling it is shorn of the tight-trousered, taut machismo. The Space Lady coos
and reaches up into the heavens away from the road, the phaser waves drenching the composition with transcendence.
Schneider’s falsetto performances in the choruses do nothing but lift the spirits ever-arching upwards. Next, The Space Lady
emasculated Jim Morrison’s performance in The Doors’ 20th Century Fox. Faithfully playing Ray Manzarek’s keyboard parts on
her Casio, Schneider disintegrates Morrison’s lust into waves of echo and delay, creating a Dubbed out version of the song,
sounding eroded and decayed in all its ghostly glory. Pioneering Rock ’n’ Roll outfit Pete & The Pirates’ 1960 hot Shakin’ All
Over, something of a response to Elvis’ All Shook Up, is blown out in warm fuzz and the celestial hug of The Space Lady’s
spirit.
The Space Lady’s Other Hits is released on April 20th 2024 on clear vinyl 12”, limited to 500. More
LP Excl
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Label:Night School Records
Cat-No:LSSN089
Release-Date:23.02.2024
Configuration:LP Excl
Barcode:5061041820007
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1
J.McFarlane's Reality Guest - Hotel Suite
2
J.McFarlane's Reality Guest - Full Stops
3
J.McFarlane's Reality Guest - Sensory
4
J.McFarlane's Reality Guest - Wrong Planet
5
J.McFarlane's Reality Guest - Electrix Blue
6
J.McFarlane's Reality Guest - Precious Boy
7
J.McFarlane's Reality Guest - Apocalypse
8
J.McFarlane's Reality Guest - YouTube Trip
9
J.McFarlane's Reality Guest - Slinky
10
J.McFarlane's Reality Guest - Caviar
LP, LTD 300 , Restrictions: UK,USA, AUS/NZ
1. Hotel Suite
2. Full Stops
3. Sensory
4. Wrong Planet
5. Electrix Blue
6. Precious Boy
7. Apocalypse
8. YouTube Trip
9. Slinky
10.Caviar
From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.
Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member
in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves,
largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist,
monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues.
Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro
music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazzinflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop
where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is
revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge
pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the
drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an
otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the
narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of
inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is
really, really strange.
Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on
Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and
existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a
whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and freeassociating, maybe in love or maybe in confusion… maybe they’re the same thing? Sometimes the listener is invited to just
bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles
and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the
song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken
breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living
life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible,
beautiful moment. You don’t emerge from this cinema with any new knowledge, but you see the world how it really is. Until the
next time.
More
1. Hotel Suite
2. Full Stops
3. Sensory
4. Wrong Planet
5. Electrix Blue
6. Precious Boy
7. Apocalypse
8. YouTube Trip
9. Slinky
10.Caviar
From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.
Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member
in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves,
largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist,
monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues.
Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro
music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazzinflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop
where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is
revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge
pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the
drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an
otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the
narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of
inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is
really, really strange.
Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on
Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and
existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a
whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and freeassociating, maybe in love or maybe in confusion… maybe they’re the same thing? Sometimes the listener is invited to just
bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles
and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the
song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken
breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living
life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible,
beautiful moment. You don’t emerge from this cinema with any new knowledge, but you see the world how it really is. Until the
next time.
More
Label:Night School Records
Cat-No:LSSN086
Release-Date:01.12.2023
Configuration:LP Excl
Barcode:5060446127971
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1
Teresa Winter - 1. Circles
2
Teresa Winter - 2. Plume
3
Teresa Winter - 3. Flower of the Mountain
4
Teresa Winter - 4. Blood Moon Myrtle
5
Teresa Winter - 5. Like an Apple
6
Teresa Winter - 6. Fireworks
7
Teresa Winter - 7. Child of Nature
8
Teresa Winter - 8. Lamento
9
Teresa Winter - 9. New Water
LP LTD 400
1. Circles
2. Plume
3. Flower of the Mountain
4. Blood Moon Myrtle
5. Like an Apple
6. Fireworks
7. Child of Nature
8. Lamento
9. New Water
Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.
On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.
Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.
While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.
More
1. Circles
2. Plume
3. Flower of the Mountain
4. Blood Moon Myrtle
5. Like an Apple
6. Fireworks
7. Child of Nature
8. Lamento
9. New Water
Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.
On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.
Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.
While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.
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1
Marina Zispin - 1. Flowers In The Sea
2
Marina Zispin - 2. Ski Resort
3
Marina Zispin - 3. Backworth Golf Club
4
Marina Zispin - 4. Hymn
5
Marina Zispin - 5. Surprise Party
Non Exclsuive,Mini LP, LTD 300
1. Flowers In The Sea
2. Ski Resort
3. Backworth Golf Club
4. Hymn
5. Surprise Party
‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal
scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren
and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid.
Life And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in
the inky blackness.
Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca
Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively,
Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca
Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile
Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion.
Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noisebased productions; the result is a new entity, the underground pop star that exists only in darkened dreams.
Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent
of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning
the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and
tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts
before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring
down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the
horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline
and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before
Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key.
Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in
space, floating and obscure.
On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above
in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and coproduction is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other
points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in
the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the
fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or
just another layer of mystery behind the enigma?
Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in
obscurity, leaving everything unanswered but open. More
1. Flowers In The Sea
2. Ski Resort
3. Backworth Golf Club
4. Hymn
5. Surprise Party
‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal
scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren
and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid.
Life And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in
the inky blackness.
Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca
Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively,
Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca
Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile
Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion.
Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noisebased productions; the result is a new entity, the underground pop star that exists only in darkened dreams.
Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent
of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning
the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and
tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts
before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring
down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the
horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline
and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before
Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key.
Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in
space, floating and obscure.
On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above
in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and coproduction is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other
points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in
the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the
fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or
just another layer of mystery behind the enigma?
Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in
obscurity, leaving everything unanswered but open. More
Label:Night School Records
Cat-No:LSSN060
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446122556
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Last in:02.11.2023
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Cat-No:LSSN060
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446122556
1
MOLLY NILSSON - 1. In Real Life
2
MOLLY NILSSON - 2. You Always Hurt The One You Love
3
MOLLY NILSSON - 3. I Hope You Die
4
MOLLY NILSSON - 4. Bottles Of Tomorrow
5
MOLLY NILSSON - 5. Hiroshima Street
6
MOLLY NILSSON - 6. Intermezzo: The Party
7
MOLLY NILSSON - 7. Hotel Home
8
MOLLY NILSSON - 8. City Of Atlantis
9
MOLLY NILSSON - 9. Qwerty (Censored Version)
10
MOLLY NILSSON - 10. The Clocks
11
MOLLY NILSSON - 11. Skybound
Non Exclsuive, LP, LTD 300
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
1. In Real Life
2. You Always Hurt The One You Love
3. I Hope You Die
4. Bottles Of Tomorrow
5. Hiroshima Street
6. Intermezzo: The Party
7. Hotel Home
8. City Of Atlantis
9. Qwerty (Censored Version)
10. The Clocks
11. Skybound
“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us
at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade
YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in
her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on
History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s
home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the
emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an
intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has
excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves
as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life
crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s
excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in
love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title
into a tale of doomed romance, a relationship based on miscommunications and the thrill of the other. It’s also
one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived
on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society
leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing
trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to
comment on the patriarchal rendering of history by power. With by now trademark panache, she turns
complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful tool that
propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer
is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time. More
LP Excl
in stock
Label:Night School Records
Cat-No:LSSN087
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446127964
in stock
Last in:02.11.2023
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Last in:02.11.2023
Label:Night School Records
Cat-No:LSSN087
Release-Date:03.11.2023
Configuration:LP Excl
Barcode:5060446127964
1
APOSTILLE - 1. Saturday Night, Still Breathing
2
APOSTILLE - 2. Rely On Me
3
APOSTILLE - 3. Spit Pit
4
APOSTILLE - 4. People Make This City
5
APOSTILLE - 5. Natural Angel
6
APOSTILLE - 6. Disease To Please
7
APOSTILLE - 7. Nothing But Perfect
8
APOSTILLE - 8. Summer Of ’03
9
APOSTILLE - 9. Feel Good (You Can Make Me)
Non Exclsuive, LP, LTD 300
1. Saturday Night, Still Breathing
2. Rely On Me
3. Spit Pit
4. People Make This City
5. Natural Angel
6. Disease To Please
7. Nothing But Perfect
8. Summer Of ’03
9. Feel Good (You Can Make Me)
'Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in
all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents his
third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with
Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities
between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s
power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.
This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be
read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator
struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in
a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and
pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick
and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming
together, making it through together. Written as private ritual magic, manifesting community during a time of
isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop,
Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes
the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told
with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal
performance.
On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his
version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it
provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s
power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in
relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song
about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the
album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal
summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced
within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make
Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with
heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also
to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with
tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the
eternal now.
More
1. Saturday Night, Still Breathing
2. Rely On Me
3. Spit Pit
4. People Make This City
5. Natural Angel
6. Disease To Please
7. Nothing But Perfect
8. Summer Of ’03
9. Feel Good (You Can Make Me)
'Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in
all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents his
third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with
Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities
between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s
power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.
This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be
read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator
struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in
a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and
pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick
and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming
together, making it through together. Written as private ritual magic, manifesting community during a time of
isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop,
Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes
the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told
with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal
performance.
On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his
version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it
provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s
power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in
relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song
about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the
album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal
summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced
within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make
Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with
heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also
to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with
tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the
eternal now.
More
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Release-Date:11.10.2024
Genre:Deephouse
Configuration:2LP Excl
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Cat-No:smallvillelp17
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1
Christopher Rau - Better Times
2
Christopher Rau - On The Dancefloor
3
Christopher Rau - Ne Travaillez Jamais (Still Working Mix)
4
Christopher Rau - Shibboleth
5
Christopher Rau - Burning Snake
6
Christopher Rau - Thank You feat. Taiko Saito
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Christopher Rau - IGFT
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Tracklist 2LP:
A1 Better Times
A2 On The Dancefloor
B1 Ne Travaillez Jamais (Still Working Mix)
B2 Shibboleth
C1 Burning Snake
C2 Thank You feat. Taiko Saito
D1 IGFT
D2 Evin
Smallville purveyor of the deep Christopher Rau with his third longplayer for the label, „Better Times“. Timeless crispy house music to stay forever.
All tracks written, produced and mixed by Christopher Rau
Vibraphone on C2 by Taiko Saito
Mastering by Helmut Erler, Vinyl Cut by Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound More
A1 Better Times
A2 On The Dancefloor
B1 Ne Travaillez Jamais (Still Working Mix)
B2 Shibboleth
C1 Burning Snake
C2 Thank You feat. Taiko Saito
D1 IGFT
D2 Evin
Smallville purveyor of the deep Christopher Rau with his third longplayer for the label, „Better Times“. Timeless crispy house music to stay forever.
All tracks written, produced and mixed by Christopher Rau
Vibraphone on C2 by Taiko Saito
Mastering by Helmut Erler, Vinyl Cut by Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound More
Label:Fauxpas Musik
Cat-No:FAUXPAS036
Release-Date:11.10.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804182218
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Last in:19.09.2024
Label:Fauxpas Musik
Cat-No:FAUXPAS036
Release-Date:11.10.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804182218
1
St. Andrew - Prologue
2
St. Andrew - Apricity
3
St. Andrew - Better days are coming
4
St. Andrew - No rain, no flowers
5
St. Andrew - Heaven is a place on earth
6
St. Andrew - Nothing is a conclusion (Outro)
we would like to share this beautiful mini LP with you at the end of the summer. we were very surprised
when we received this demo and knew immediately that we would like to release it on vinyl. The artist is
from near the Karparten, we don't know much about him, but he's a nice guy and we like the tracks a lot.
You will certainly hear a lot more from him.. Vinyl Tastes Better...
TRACKLIST:
A1 Prologue
A2 Apricity
A3 Better days are coming
B1 No rain, no flowers
B2 Heaven is a place on earth
B3 Nothing is a conclusion (Outro)
Credits: Artist: Andrei Pietrareanu
Cover Art: Alex Ketzer
Mastered by: Lopazz
Lacquer Cut by: Hinsch Audio
More
when we received this demo and knew immediately that we would like to release it on vinyl. The artist is
from near the Karparten, we don't know much about him, but he's a nice guy and we like the tracks a lot.
You will certainly hear a lot more from him.. Vinyl Tastes Better...
TRACKLIST:
A1 Prologue
A2 Apricity
A3 Better days are coming
B1 No rain, no flowers
B2 Heaven is a place on earth
B3 Nothing is a conclusion (Outro)
Credits: Artist: Andrei Pietrareanu
Cover Art: Alex Ketzer
Mastered by: Lopazz
Lacquer Cut by: Hinsch Audio
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12" Excl
in stock
Label:Inhale Exhale Records
Cat-No:inex017
Release-Date:11.10.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:
in stock
Last in:24.09.2024
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in stock
Last in:24.09.2024
Label:Inhale Exhale Records
Cat-No:inex017
Release-Date:11.10.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:
1
DJ Soch - Make It Right (The ITS Mix)
2
Toomy Disco - Understand U
3
DJ Psychiatre - Tears Of The M1
4
Marc Brauner - Everytime
5
Sischke - Clyde
6
Craftsmanship - Keep The Stabs
ENRE/S: House, Disco, Tech House, Deep House
TRACKLISTS:
A1. DJ Soch – Make It Right (The ITS Mix)
A2. Toomy Disco – Understand U
A3. DJ Psychiatre – Tears Of The M1
B1. Marc Brauner – Everytime
B2. Sischke – Clyde
B3. Craftsmanship – Keep The Stabs
SHORT INFO:
Oops - we did it again. Heartwarming and soulful summer tunes, freshly cooked for your outdoor disco BBQ. Inhale Exhale presents INEX017, offering familiar dishes your granny couldn't have served better, but also featuring some fresh and extravagant spices.
More
TRACKLISTS:
A1. DJ Soch – Make It Right (The ITS Mix)
A2. Toomy Disco – Understand U
A3. DJ Psychiatre – Tears Of The M1
B1. Marc Brauner – Everytime
B2. Sischke – Clyde
B3. Craftsmanship – Keep The Stabs
SHORT INFO:
Oops - we did it again. Heartwarming and soulful summer tunes, freshly cooked for your outdoor disco BBQ. Inhale Exhale presents INEX017, offering familiar dishes your granny couldn't have served better, but also featuring some fresh and extravagant spices.
More
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Last in:19.09.2024
Label:Figure
Cat-No:figure x44
Release-Date:04.10.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804183260
1
Arkan - Brocken Clock
2
Arkan - Pulsing
3
Arkan - Plaintive
4
Arkan - Dark Clouds
12” vinyl with full cover print
TRACKLIST:
A1. Brocken Clock
A2. Pulsing
B1. Plaintive
B2. Dark Clouds
INFO:
Fresh off the heels of his first release on Figure, French producer Arkan deepens his explorations of a unique sound with Part 2 of his Lightworker EP.
His signature blend of mental techno is expanded upon, with opener Broken Clock swaying and rumbling mysteriously like a hypnotic pendulum over an abrasive groove. Pulsing picks up traction and pushes the momentum forward while still allowing jagged textures and cavernous effects to paint a largely looming soundscape.
The flipside gets treated to more colours, with the linear Plaintive works its magic through a set of dense and emotive synths, slowly creating an uplifting yet condensed energy.
Dark Clouds equally builds a strong atmosphere, using ricocheting sparks of panning synths and lighting to conjure the ominous feeling of a rising thunderstorm.
If you haven’t checked it yet, make sure to go back for Lightworker Pt 1 and hear more of this promising new talent’s sounds.
More
TRACKLIST:
A1. Brocken Clock
A2. Pulsing
B1. Plaintive
B2. Dark Clouds
INFO:
Fresh off the heels of his first release on Figure, French producer Arkan deepens his explorations of a unique sound with Part 2 of his Lightworker EP.
His signature blend of mental techno is expanded upon, with opener Broken Clock swaying and rumbling mysteriously like a hypnotic pendulum over an abrasive groove. Pulsing picks up traction and pushes the momentum forward while still allowing jagged textures and cavernous effects to paint a largely looming soundscape.
The flipside gets treated to more colours, with the linear Plaintive works its magic through a set of dense and emotive synths, slowly creating an uplifting yet condensed energy.
Dark Clouds equally builds a strong atmosphere, using ricocheting sparks of panning synths and lighting to conjure the ominous feeling of a rising thunderstorm.
If you haven’t checked it yet, make sure to go back for Lightworker Pt 1 and hear more of this promising new talent’s sounds.
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12"
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Last in:24.09.2024
Label:Freerange
Cat-No:FR238R
Release-Date:20.09.2024
Genre:Deephouse
Configuration:12"
Barcode:
1
black loops - 7Hills (ft. Nikos Haropoulos)
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black loops - Linda38
We are delighted to offer a very limited hand-stamped repress of Black Loops’ debut EP, 7 Hills on FreerangeThe Italian producer who splits his time between Berlin and his native country has had a solid few years rising through the house music ranks through releases on respected labels such as Shall Not Fade, Pets, Toytonics, Aterral, Gruuv & Neovinyl.His broad-ranging influences taking in funk, soul, disco and 90’s NY house inform a depth, warmth and musicality to his productions which has seen him in demand DJing around the world and makes him an obvious fit for us here on Freerange.This EP, produced almost exclusively during an extended tour in Australia opens with title track 7Hills, the area where he stayed and worked on this release. The trademark Black Loops swinging groove, smooth Rhodes stabs/ keys licks courtesy of Nikos Haropoulos and a deep, rolling bassline all come together to form the perfect warm up track - uplifting, understate and with a subtle sense of anticipation.Next up we have Parisian producer Mad Rey getting stuck into 7Hills for a raw, bumping interpretation which jacks things up a notch taking it into heavier peak-time territory. Mad Rey has been responsible for some brilliant releases on French label D.Ko, Rekids and most recently Mamie’s Records and alongside label mates Flabaire and Paul Cut he has helped reestablish Paris as a hotbed of fresh, musical talent.Flipping over we have two more Black Loops originals. King Paul takes an old soul vocal sample and works it to great effect over crisp 909 beats and sun-soaked keys whilst a vinyl-only bonus track Linda38 treads a similar path but with a punchier groove and warm pads rounding off this EP in fine style.
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Label:Dirt Crew Recordings
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Release-Date:04.10.2024
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1
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Clive From Accounts - Clive by Night
Genre: Deep House
Track list:
A1 That Rhythm
A2 Maceo
B Clive by Night
Release Info:
Clive From Accounts is finally back on Dirt Crew Recordings! After some excellent contributions and remixes for the highly acclaimed New York based “Razor-N-Tape” imprint, he graced us again with three new gems that show the great diversity in his productions. Since his first “Cooking the Books EP” in 2021 and the follow up “Pearls EP” in 2022 he has continued to build a strong following of fans, so we know for sure a lot of you have been waiting on new tracks by him.
The uplifting opener “That Rhythm” is a smooth deep house roller with chopped up dusty samples, inspired by the US and French masters but with a heavy UK sub bass added. Following up is the wonderfully crafted “Maceo”, a groovy instrumental jazz funk workout built around the genius of The JBs legends Fred Wesley and Maceo Parker.
Closing out this new EP is the acid laden and also title track “Clive by Night”, deep and lush house music that we love him for since his first release on our label, here he’s finding joy in deep evolving repetition, it’s an ode to the 303 and Xpander. Best played at night.
Get in these 3 new hitters from Clive now, we are looking forward to hear these played out in dark clubs and wide open fields this late summer and golden fall. Enjoy!
All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.
More
Track list:
A1 That Rhythm
A2 Maceo
B Clive by Night
Release Info:
Clive From Accounts is finally back on Dirt Crew Recordings! After some excellent contributions and remixes for the highly acclaimed New York based “Razor-N-Tape” imprint, he graced us again with three new gems that show the great diversity in his productions. Since his first “Cooking the Books EP” in 2021 and the follow up “Pearls EP” in 2022 he has continued to build a strong following of fans, so we know for sure a lot of you have been waiting on new tracks by him.
The uplifting opener “That Rhythm” is a smooth deep house roller with chopped up dusty samples, inspired by the US and French masters but with a heavy UK sub bass added. Following up is the wonderfully crafted “Maceo”, a groovy instrumental jazz funk workout built around the genius of The JBs legends Fred Wesley and Maceo Parker.
Closing out this new EP is the acid laden and also title track “Clive by Night”, deep and lush house music that we love him for since his first release on our label, here he’s finding joy in deep evolving repetition, it’s an ode to the 303 and Xpander. Best played at night.
Get in these 3 new hitters from Clive now, we are looking forward to hear these played out in dark clubs and wide open fields this late summer and golden fall. Enjoy!
All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.
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Genre:House
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1
Dam Swindle - Touch Me Again
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Dam Swindle - Hang On
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Dam Swindle - The Joy of Melancholy
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Format : Vinyl 12” (180 gr., Limited Full Cover)
Track list:
A1 Touch Me Again
A2 Hang On
B1 The Joy of Melancholy
B2 Forever and Ever
Release Info:
Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.
The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.
The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.
‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.
On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.
The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.
Grab this record while you can and share the love,
Heist Recordings. More
Track list:
A1 Touch Me Again
A2 Hang On
B1 The Joy of Melancholy
B2 Forever and Ever
Release Info:
Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.
The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.
The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.
‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.
On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.
The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.
Grab this record while you can and share the love,
Heist Recordings. More
Label:Yore
Cat-No:YRE-053
Release-Date:27.09.2024
Genre:Detroit House
Configuration:12" Excl
Barcode:4251804182669
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Last in:10.09.2024
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Last in:10.09.2024
Label:Yore
Cat-No:YRE-053
Release-Date:27.09.2024
Genre:Detroit House
Configuration:12" Excl
Barcode:4251804182669
1
Rick Wade - Hustlers Lament (05:58)
2
Rick Wade - Shinjuku Strut (05:14)
3
Rick Wade - After Dark (05:55)
Genre: Deep House / Detroit House
strictly limited to 300 copies
Tracklist 12":
A1. Rick Wade - Hustlers Lament 05:58
B1. Rick Wade - Shinjuku Strut 05:14
B2. Rick Wade – After Dark 05:55
Official re-issue of Rick Wade's Hustler's Lullaby, which was originally released in 2013 on Japanese Label: "Unknown Season". The record goes for 130 - 200 Bucks on Discogs, so we decided to make this available again. Strictly limited to 300 copies and no repress. Best to secure your copy for a regular price now, as they will go real quick due to heavy demand.
More
strictly limited to 300 copies
Tracklist 12":
A1. Rick Wade - Hustlers Lament 05:58
B1. Rick Wade - Shinjuku Strut 05:14
B2. Rick Wade – After Dark 05:55
Official re-issue of Rick Wade's Hustler's Lullaby, which was originally released in 2013 on Japanese Label: "Unknown Season". The record goes for 130 - 200 Bucks on Discogs, so we decided to make this available again. Strictly limited to 300 copies and no repress. Best to secure your copy for a regular price now, as they will go real quick due to heavy demand.
More
Label:Disco Disco Records
Cat-No:DISCO012
Release-Date:20.09.2024
Genre:House
Configuration:12" Excl
Barcode:
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Last in:17.09.2024
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Last in:17.09.2024
Label:Disco Disco Records
Cat-No:DISCO012
Release-Date:20.09.2024
Genre:House
Configuration:12" Excl
Barcode:
1
Yann Polewka - L.O.V.E.
2
Yann Polewka - The House Sound
3
Yann Polewka - XTC
4
Yann Polewka - Koba La Drum
No Returns!
500 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Europe
A1: L.O.V.E.
A2: The House Sound
B1: XTC
B2: Koba La Drum
More
500 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Europe
A1: L.O.V.E.
A2: The House Sound
B1: XTC
B2: Koba La Drum
More
12" Excl
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Label:Get Physical
Cat-No:GPM700V
Release-Date:31.03.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141123
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Last in:12.07.2024
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Last in:12.07.2024
Label:Get Physical
Cat-No:GPM700V
Release-Date:31.03.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141123
1
M.A.N.D.Y. vs Booka Shade - A. 01 M.A.N.D.Y. vs Booka Shade - Body Language (Patrice Bäumel Remix)
2
M.A.N.D.Y. vs Booka Shade - B1. M.A.N.D.Y. vs Booka Shade - Body Language (HOSH Remix )
3
M.A.N.D.Y. vs Booka Shade - B2. M.A.N.D.Y. vs Booka Shade - Body Language (Original)
Get Physical strides into its 21st year with a reissue of one of its most iconic tunes. M.A.N.D.Y. vs Booka
Shade's 'Body Language' has been remastered for the occasion and will be available on vinyl, as well as
digitally and on streaming platforms for the first time ever, with new remixes from HOSH and Patrice
Bäumel.
Tracklist:
01 M.A.N.D.Y. vs Booka Shade - Body Language (Patrice Bäumel Remix)
02 M.A.N.D.Y. vs Booka Shade - Body Language (HOSH Remix )
03 M.A.N.D.Y. vs Booka Shade - Body Language (Original)
M.A.N.D.Y. aka Patrick Bodmer and Philipp Jung, and Booka Shade, aka Walter Merziger and Arno
Kammermeier, are Get Physical co-founders alongside DJ T., and 'Body Language' is one of the label's, as well
as dance music's, biggest ever tunes. Released in 2005, it defined an entire generation of house music and
spawned myriad copycats in its wake as well as making household names of the artists behind it. It became an
instant classic that worked as well in cosy clubs as it did on festival main stages and it has remained an
ever-green house anthem. The influential track has been sampled many times over the years but nothing beats
the original.
The chunky house drums still sound from the future today, with fleshy hits and warming bass. What makes it such
a standout track, though, is the gorgeous melodic hook that rides up and down the scale. Those soft focus notes
are full of subtle but playful soul that never fails to unify a crowd, bring smiles to faces, and get hands in the air.
The first to remix is acclaimed German artist Patrice Bäumel. He is a master of stylish and deep house and techno
with expressive synth work on labels like Kompakt and his own HALO. His superb version is a complete overhaul
with deeper drums and a sense of late-night tension that is released in glorious fashion when the iconic melody
comes in. It's the sort of tune that is suited to 4 am dance floors and will take things to the next level. The second
remix comes from fellow German HOSH. For many years a core part of the Diynamic family he is also the founder
of the fryhide imprint and an assured underground talent. He layers in some fresh and airy breakbeats to power
along an expansive remix. After a long and atmospheric build with plenty of cosmic synth work, the original
melody arrives during a breakdown and then plays out over the suspensory grooves.
This is a superb package that brings a widely loved favourite back to the fore with contemporary remixes and a
fresh remaster.
More
Shade's 'Body Language' has been remastered for the occasion and will be available on vinyl, as well as
digitally and on streaming platforms for the first time ever, with new remixes from HOSH and Patrice
Bäumel.
Tracklist:
01 M.A.N.D.Y. vs Booka Shade - Body Language (Patrice Bäumel Remix)
02 M.A.N.D.Y. vs Booka Shade - Body Language (HOSH Remix )
03 M.A.N.D.Y. vs Booka Shade - Body Language (Original)
M.A.N.D.Y. aka Patrick Bodmer and Philipp Jung, and Booka Shade, aka Walter Merziger and Arno
Kammermeier, are Get Physical co-founders alongside DJ T., and 'Body Language' is one of the label's, as well
as dance music's, biggest ever tunes. Released in 2005, it defined an entire generation of house music and
spawned myriad copycats in its wake as well as making household names of the artists behind it. It became an
instant classic that worked as well in cosy clubs as it did on festival main stages and it has remained an
ever-green house anthem. The influential track has been sampled many times over the years but nothing beats
the original.
The chunky house drums still sound from the future today, with fleshy hits and warming bass. What makes it such
a standout track, though, is the gorgeous melodic hook that rides up and down the scale. Those soft focus notes
are full of subtle but playful soul that never fails to unify a crowd, bring smiles to faces, and get hands in the air.
The first to remix is acclaimed German artist Patrice Bäumel. He is a master of stylish and deep house and techno
with expressive synth work on labels like Kompakt and his own HALO. His superb version is a complete overhaul
with deeper drums and a sense of late-night tension that is released in glorious fashion when the iconic melody
comes in. It's the sort of tune that is suited to 4 am dance floors and will take things to the next level. The second
remix comes from fellow German HOSH. For many years a core part of the Diynamic family he is also the founder
of the fryhide imprint and an assured underground talent. He layers in some fresh and airy breakbeats to power
along an expansive remix. After a long and atmospheric build with plenty of cosmic synth work, the original
melody arrives during a breakdown and then plays out over the suspensory grooves.
This is a superb package that brings a widely loved favourite back to the fore with contemporary remixes and a
fresh remaster.
More
+ Show full info- Close
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Last in:29.07.2024
Label:SVMRMX
Cat-No:SVMRMX001
Release-Date:02.08.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:
1
Bellaire - Daytime (Session Victim Remix)
2
Sweatson Klank - The Road To Love (Session Victim Remix)
Two certified club bangers finally available on wax, super lmtd. Edition!
Finally two highly acclaimed Session Victim Remixes for high profile artists Bellaire and Sweatson Klank are being released on vinyl for the first and only time.
A1 - Bellaire - Daytime (Session Victim Remix)
B1 - Sweatson Klank - The Road To Love (Session Victim Remix)
More
Finally two highly acclaimed Session Victim Remixes for high profile artists Bellaire and Sweatson Klank are being released on vinyl for the first and only time.
A1 - Bellaire - Daytime (Session Victim Remix)
B1 - Sweatson Klank - The Road To Love (Session Victim Remix)
More
12" Excl
in stock
Label:Running Back
Cat-No:rb120
Release-Date:06.09.2024
Genre:House
Configuration:12" Excl
Barcode:4251804141895
in stock
Last in:12.08.2024
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in stock
Last in:12.08.2024
Label:Running Back
Cat-No:rb120
Release-Date:06.09.2024
Genre:House
Configuration:12" Excl
Barcode:4251804141895
1
DJ BORING - Beautiful Strangers
2
DJ BORING - Can't Fix A Broken Heart
3
DJ BORING - When I'm With You ft. Jasper Tygner
4
DJ BORING - False Attraction
5
DJ BORING - Memories Fade
2024 repress
Tracklist:
A1. Beautiful Strangers
A2. Can’t Fix A Broken Heart
B1. When I’m With You ft. Jasper Tygner
B2. False Attraction
B3. Memories Fade
Release Info:
Ever since the release of his masterpiece Winona it’s hard to imagine modern electronic dance music without DJ BORING. A progressive traditionalist DJ BORING finds new ways in old maps. Just like Beautiful Strangers. The lead single to his correspondent debut EP for Running Back illustrates his kaleidoscopic sound aesthetic and refreshing style. Harking back to the aural palette of BORING’s formative years in the early 2000s it manages to bridge infatuation and lovesickness wistfulness and bliss as well sundowns and sunrises dance floors and living rooms – and that is no mean feat.
More
Tracklist:
A1. Beautiful Strangers
A2. Can’t Fix A Broken Heart
B1. When I’m With You ft. Jasper Tygner
B2. False Attraction
B3. Memories Fade
Release Info:
Ever since the release of his masterpiece Winona it’s hard to imagine modern electronic dance music without DJ BORING. A progressive traditionalist DJ BORING finds new ways in old maps. Just like Beautiful Strangers. The lead single to his correspondent debut EP for Running Back illustrates his kaleidoscopic sound aesthetic and refreshing style. Harking back to the aural palette of BORING’s formative years in the early 2000s it manages to bridge infatuation and lovesickness wistfulness and bliss as well sundowns and sunrises dance floors and living rooms – and that is no mean feat.
More