[engl] Heaven's End is the debut album.

[engl] All three LOOP John Peel sessions collated on one vinyl album from 1987 – 1990, these are some of the best recordings by LOOP. Remastered by Kevin Metcalf when the CDs were reissued in 2008, REACTOR has decided to reissue the famed WOLFFLOW 2LP for RSD 2017. In a new / updated sleeve, with new printed innerbags. Wolf Flow captures LOOP in their ascendency in the the late 90s, featuring tracks from all three of their albums, a cover of Rocket USA and the track Sunburst (b-side of Arc Lite)…theres a 10 minute version of Straight To Your Heart! Essential!! Recorded live at MAIDA VALE STUDIOS.

[engl] Fresh off scoring the Sundance nominated short film, The Rifleman(2021), Los Lichis confidently stumble back with their most recent sojourn into the sub underground popular culture milieu with a new 12’’ EP for ever/never records. Enigmatic only because the world is blind and deaf to certain wave lengths , Los Lichis, one of Monterrey, Mexico’s proudest exports bring to you their latest transmission ‘Small Mole & The Flavor Jewel Trio’ . Like a train lurching out the station that can’t decide if it wants to leave or maybe just sit at home and watch the world crumble on television. Providing a perfect soundtrack for transiting to funerals or weddings or birthdays or really anywhere at all, this strain of Raga(Mexican) will surely bring you back home feeling lighter and brighter than when you left.

[engl] Louis Philippe is living the big dream: He's a famous football journalist AND a pop star. He writes, arranges, sings and plays the most elegant pop songs on our side of the Atlantic, he released on the legendary label él Records and his influence on the great Japanese Shibuya sound cannot be underestimated. So we are very pleased to present a long overdue compilation of some of the greatest Louis Philippe songs from the years 1994- 2007. Many of these songs are from albums that have been out of print for a long time, and some of them are being released on vinyl for the first time The album was expertly compiled by Louis Philippe's friend and sometime musical partner Sean O'Hagan (The High Llamas), who also wrote the liner notes. In them O'Hagan writes and recommends: „Lose yourself in this record and let me warn you. You ?ll be humming the tunes and reliving the chorus ?s and key changes for an age, and if you ?re a songwriter you will probably be lifting the melodies without realising is. That ?s the sign of a timeless classic.“ Anyone who knows the works of Louis Philippe will immediately agree with O'Hagan. Those who do not yet know Louis Philippe will agree with O'Hagan at the latest after listening to this album for the first time. They say that when Smokey Robinson sings, you hear violins. And when the great Louis Philippe sings, the sun rises, even on 21 December at midnight.

[engl] Back in the heady days of 2007, long before social media was the reigning king of entertainment, when people still picked going out to live shows over streaming movies, there was a band that made a little blip on the heart monitor of the Medway music scene before disappearing almost as quick. The Lovedays were a British pop band, in the retro meaning of the word "Pop". With influences ranging from Brian Wilson and The Who, to Steve Winwood and Roy Wood, The Lovedays aspired to be part of the next generation of classic pop purveyors. Their eponymous debut received 5-star notices as far afield as the US, with only self-distribution and promotion, along with noted appearances at The Cavern Club in Liverpool and Kennys Castaways in New York in 2009. They took hiatus in 2010, for pastures new. Ben Jones, the frontman and leader of the band, moved to Austin, TX, where he is part of the roots duo, Beat Root Revival.

[engl] Contains the songs "Wander Through The Time Of Hearts,""Boxer," and "Lavender Light." "Boxer" is from the album Dark Light but has never been available on vinyl outside this 7". The beautiful artwork was created by Carolyn Berk - singer/songwriter from Lovers.

[engl] For the last ten years, Mélanie Virot and Maël Salètes have combined the pedal harp and the electric guitar to create the music of L’Étrangleuse, drawing inspiration from the traditional music of a country that doesn’t exist. Tirelessly trapping the magic of almost nothing with two instruments that per se seem to have nothing in common, they increasingly tour in unexpected places. From this confrontation, a sort of chamber post-rock has emerged, a contemplative punk hymn to African music from the Arctic circle, a modal soundtrack and outwith the modes of a long waking dream. Seven years after their first album and three years after “Memories To Come” (produced by John Parish), the duo has conceived a third disc, “Dans Le Lieu Du Non-Où” (“In The Place Of No-Where”), completely sung in French and recorded at home. From dances of enchantment to end-of-the-world ballads, their new repertoire gives pride of place to the rotations of the jeli n’goni (Malian lute), while the harp borrows saturation and breaks from the electric guitar. The raw and natural sound offers a total immersion in what the group generates best on stage, where the duo is now accompanied by a percussionist.

[engl] Who is Marilies Jagsch? With the debut album I AM of her new project MAIIJA, the musician provides us with an answer that raises many questions while exploring the zeitgeist. “I am not who you think I am. I could be anyone”, states the accompanying text of the album. On the cover: a barely recognizable face. The self introducing itself here is interchangeable, it slips into various roles and acquires different meanings depending on the perspective. For her current project Marilies Jagsch teamed up with producer Peter Paul Aufreiter (Hearts Hearts) and invited some of Vienna’s most exciting musicians such as Lukas Lauermann (Cello) Emily Stewart (Violine, Viola), Gernot Scheithauer (drums) to record the eleven tracks of the album I AM, that is going to be released in September 2023 on Noise Appeal Records.

[engl] Marietta is the new project of Guillaume Marietta after The Feeling Of Love.

[engl] Sophomore album by Marietta, La Passagère follows Basement Dreams Are The Bedroom Cream (Born Bad Records, 2015), which was lauded by French daily newspaper Liberation, magazines Les Inrockuptibles, Magic, New Noise and online magazine Noisey. After touring with his band for two years and playing well-received concerts at Villette Sonique, Rock en Seine, Levitation Festival, Musiques Volantes, Bars en Trans, laureate of leading French development prize Fair 2017 Guillaume Marietta has come back with nine songs written in French for the first time. The album was recorded in Los Angeles by Chris Cohen, singer-songwriter and producer extraordinaire, with two albums signed on Captured Tracks and past member of Deerhoof and The Curtains. Mixed by Kenneth Gilmore, permanent member of Ariel Pink’s Haunted Graffiti, who counts in his mixing catalogue Front Row Seat To Earth by Weyes Blood and My Dreams Dictate My Reality by SOKO. A carnal, sensual, hallucinating and melancholic record, fed by representations of the woman, the modern city, self-abandon, paranoia and redemption. La Passagère is inhabited by the ghosts of Syd Barret and Lou Reed, and nods to contemporary productions by Kurt Vile, Cate Lebon, Tim Presley, Kevin Morby, and of course Chris Cohen.

[engl] In 20 or 30 years, we’ll talk about Guillaume Marietta the same way we talk about Arthur Russell or Robert Johnson today – people ignored by their contemporaries and rediscovered later in prestigious anthologies or picaresque documentaries. Future being rather incertain these days, it would maybe be better if you didn’t lose any time and enjoy Marietta right away. Sure, it won’t be easy to map Marietta’s journey – one of the key players of the GrandeTriple Alliance De l’Est, an anarchic scene which exploded between Metz and Strasbourg in the early 2000s, fronting bands such as A.H. Kraken, Plastobe?ton and The Feeling Of Love. In 2015 he released his first solo album, Basement Dreams Are The Bedroom Cream, an amazing collection of 4-track twisted lullabies who got him comparisons with Syd Barrett and John Frusciante. Then comes his second LP and suddenly you lose the track – footprints have been covered – no more of that sweet demo sounding folky weirdness : La Passage?re is recorded in Los Angeles with Chris Cohen and it’s a lush and mesmerizing record, like Berlin with windows wide open or a sun-drenched The Idiot. A record that gives Marietta’s music new layers of depth and complexity – even if he loses part of his audience in the process. Following this would be tough – and hazardous No studio sessions in LA, no 4-track demos, Prazepam St. has been recorded with cracked computer music software. Richer and fuller than the two previous records, this new LP is also, paradoxically, unbashed and easier to grasp. “I wanted to have fun,” says Marietta. Build a dark and bright world with my little hands and raw material, like David Lynch when he did Eraserhead “- one of the main keys to the album. It is also, more involuntarily a synthesis – there’s the raw side of the first album, that more flamboyant and ambitious of the second, but also small pieces of AH Kraken, Feeling Of Love and even Funk Police. Marietta went back to some of his teenage years fovorite records – Sonic Youth, Beck, Nirvana, the Beastie Boys, but also Jim O’Rourke or David Pajo – “Pajo” is a nod to te guitarist from Slint whose solo project Papa M is a mainstay on Guillaume’s record collection. Prazepam St. is also a dark and twisted record, as its title shows – a reference to an anxiolitic used for severe depression. “I have often tried to speak in my lyrics of the way the human mind works, of our contradictions, of our inner darkness, explains Marietta. And this time I wanted to bring the lexical field of drugs into my texts. Our body and mind are shaped by these substances that we use and abuse and I wanted to play with that. It’s a chemical album. » Proof made with « Dmpa », a molecule used as a chemical castrator on American sex offenders, transformed here into a battered folk song crushed by samples, rhythm machines and breaks from outer space. Or « Aluminum”, a solid and shiny but highly harmful element, like the incandescent ride full of rumbling synths, which opens the album – not an innocent choice: “Aluminum fairly well reflects our ability to accept all the things that we are presented with as being necessary for our daily life, concludes Marietta. Despite the experience, we always do the opposite of what is good for us. ” Like ignoring Marietta records, for exemple. Awaiting for 20 or 30 years to praise them. But you know what? He’s here. Right now. Enjoy.

[engl] works of Suicide, the duo he played in across the decades with with Alan Vega. However, the radical and distinctive nature of his music can be traced further back in time, originating in the base energy of rock’n’roll which the teenage Rev experienced as the ubiquitous soundtrack to his home city of New York. Rev initially explored free jazz and similarly free forms of musical expression before discovering the magnetic attraction of electronic production and instrumentation, enabling him to create music in a wholly independent and autonomous environment. Using the most rudimentary equipment, he grafted the roots of rock’n’roll into the process of combining effects and devices to generate electrified sounds, the likes of which had never been heard before. This music would map out the way forward not only for Suicide, but also for a fascinating solo career. Martin Rev’s predilection for experimentation knew no bounds. At home, he played around with rough ideas, trying out all manner of variations and colorations. These tape recordings provide a captivating insight into his modus operandi, often representing the early stages of what would later become Suicide tracks or cuts on Rev’s solo albums. Spanning the period 1973 to 1985, the recordings on "The Sum of Our Wounds" are much more than a collection of demos and outtakes. One has the sense of listening to a rounded album of familiar compositions, now portrayed in a completely new light. The brittle fragility of these cassette pieces reveals a deep-lying sensitivity, like a collection of wounds. Martin Rev himself remains as transfixed as ever by these recordings, as if he could immediately pick up where he left off and continue to expand on the ideas that came to him decades ago: »They often have a certain freshness or unpolished energy here... and (there is) always scope for new ideas, to be derived from them as a whole or even in small areas.« The cassette medium proves to be more than a means to an end – the tape recorder itself has a role to play as an instrument, the ideal basis for an artist who understands how to condense an idea into its fundamental elements: »The cassette sound, with its individual peculiarities, many even thought of in terms of inferior sound, can have an interesting dynamic. Maybe especially in certain minimal contexts when they are not being overloaded. Although they often seem to take on a lot of texture as well and with a warm response.« And so these snapshots can be seen as stages of a ceaseless evolution, one we are allowed to witness as we sit alongside Martin Rev at the tape deck, listening as he captures the sounds of the unquiet city.

[engl] After sharing countless stages and touring together over the last two years, like minded noisemakers Housewives and Massicot put together two brand new songs for this limited edition split 7”. This release has gained the support of five labels as collaboration between Blank Editions / Hands In The Dark / Red Wig / Et Mon Cul C’est Du Tofu? And Harbinger Sound.

[engl] Mellie’s first EP „Have Head“, released in spring 2020, was a small manifesto of brooding. While the urban zeitgeist wants to shake this off once and for all in order to just get things done and be even more productive, Mellie explicitly appreciates the permanent thinking-things-through. The whole thing comes with a melancholic, opaque sound which is shaped by sometimes discordant, often catchy guitar riffs and repetitive, almost paralyzing basslines. The trio‘s sound is anything but forced or exhausting, on the contrary: Mellie’s music is in many places subtle, in the very best sense of the word, sometimes even shy. Krautrock-like, repetitive passages bring a reduced version of early Stereolab to mind. „First Fridge“ calls up memories of Sonic Youth’s brighter and poppier songs.

[engl] Long-awaited debut album from progressive and psychedelic rock band from Pula, Croatia, offers a berserk kick start into their world of music. Influenced by Kyuss, The Mars Volta and Tool.

[engl] "Heavy music for nerdy people", that's how someone once described the music of Mint Mind. "For" or "from"? Both, of course. After the first "VG+" songs, you get a feeling of what the world of Mint Mind looks like: instruments and amplifiers from several decades loosely piled and organized. In front of, next to and between are synthesizers and effects, some as big as microwave ovens. On the crooked record shelf are handfuls of comics, albums by New Order, Devo, the B52s, almost the entire SST catalog, as well as Krautrock classics by Can and Faust. "VG+", Mint Mind's third album, has become a great, cross-generational indie rock album. Mint Mind are sitting in the Upper Room Studio, a separate area of Rick McPhail's small industrial loft in Hamburg-Altona. This is where the new Mint Mind album VG+ was created. Rick, who grew up in Maine, USA, looks to his fellow musicians. They are a little younger than him. Christian Klindworth (Fluppe) is 40, Friedel Viegener is 22. Rick grins and says, "I'm a polite and cheerful person but I need moments to vent and that's what I do in my music. I usually get angry about the same things as young people. A lot of the things that suck today sucked in the 80s and it wasn't easier to fight them back then.” The album is about anger, optimism, a politician with little fingers or influencers who secretly lead a normal life. Some lyrics are funny, others serious: "Glow" is about love and appreciating good moments in difficult times. "Youth And I" deals with the question of why different generations with the same ideas on topics such as the environment, women's and LGBTQIA+ rights or even the economy do not manage to form a unity, but instead allow themselves to be disturbed by something as silly as age differences. The sound of Mint Mind combines sweet and sour, fuzzy riffs with the freedom and sentiment of 80’s post-punk/indie. Synthesizers have become a more central instrument this time. From playful and strange sounds to the eerie and dark, the album is littered with textures and ear candy to discover. The album title is well chosen. "VG+" is taken from the Goldmine Grading Standard for the evaluation of used vinyl records and means "Very Good +" - background noise can occur occasionally, but not always. Older folks might certainly feel reminded of Dinosaur Jr. or The Cure, the younger ones of Diiv, Wavves or Gurr. And for a moment, the world is Very Good + (with background noise) for everyone. Speaking of background noise: When Rick is not swinging his self-made Lego guitar at Mint Mind, he takes care of the technic, roadies and lead guitar in Tocotronic or spins records. In the Hamburger bar Mutter he plays Album/Adult Oriented Rock under the motto "AOR-Alles Klar?". He moderates the songs and with a telephone receiver converted to a microphone the guests can also make requests. As the morning dawns over Hamburg, Rick packs up his Billy Joel, Chicago and Steely Dan albums, grabs his skateboard and rides back to his studio with the rising sun at his back. “Sultan of Squat” furthers the band's trajectory into themselves, polishing off thirteen songs filled with dubious characters, whimsical retreats, and even the odd love song. As with previous releases, The Cowboys refuse to make their bed in any single genre. Lead track, “The Sultan of Squat'' opens the album with an earworm salute to America’s pastime while lofting a lyrical curveball of dark, defeated humor. The boys kick it into high gear, playing with the finesse and dexterity ten years as a band instills. It's automatic - whether they're launching into classic Midwestern garage punk (“Raining Sour Grapes”), dialing things back to piano-driven power pop (“Token Drifter”), or western slide guitar pop-rock ballads ("She's Not Your Baby Anymore"), The Cowboys are simply incredible across “Sultan of Squat”. This could well be The Cowboys' finest hour as a group, and six albums in - that's no easy feat. The best of the Midwest is back under the bright lights, pouring collective blood, sweat, and tears into a sound equal parts then and now. *LP includes 11x17 full color poster

[engl] Weaving a fragile thread through collectible outsider genres such as acid folk, French jazz, Braziliana and world music it is virtually incomprehensible that this incredible one-off solo album by mononymous Occitan language singer, songwriter and activist Miquela has managed to evade notoriety and wider affection zover five decades. Captured via a humble makeshift studio set-up in a classroom in 1977, this startlingly crystalline recording is one of the best examples you are likely to hear, not shying from ambitious small string arrangements and intimate Gallic jazz infusions this LP represents the quiet storm erupting from the pride and protection of the ancient “romance” language known as Occitan, as spoken by less than 1.5 million people in Southern France (as well as parts of Italy and Spain). Naturally combining a wide range of influences, and fuelled by the same impassioned fervour found in privately pressed minority language records from Britanny, Catalonia and Wales, Miquela’s first and only solo record was recorded by request of poet Ives Roqueta for his exclusively Occitan language label Ventadorn. Including players from Miquela’s surrounding area of Toulon the album also enlisted arrangements from important musicians such as co-author Jean-Michel Mariou, jazz contrabass player Didier Capeille (later affiliate of Marseilles’ Etron Fou Leloublan), and guitarist Gilles Cardon, who would regularly play for Britanny based label Nevenoe (knotting the ties between both French language rehabilitation movements). Released and well-received by a supportive and emotional Occitan fan base, this would be Miquela’s only ever solo LP (preceded by a 7? picture sleeve EP, drawing similarities to Welsh label Sain) and laid the foundations for future releases with her folk rock girl group Lei Chapacans (The Vagabonds) which led to tours as far as Sardinia, Yemen and Moscow. As a vital forerunner of a maligned genre of Occitan femme-folk singers such as Estela, Nicòla, Jacmelina, Rosina De Peira E Martina and Claudia Galibert, this LP marks the start of a journey that would eventually find its beloved protagonist at the heart of the galvanised Occitan language media.

[engl] The first progressive girl group of the French Occitan language pop scene bring you folk funk, sun-baked bossa, Coltrane jazz and their own brand of punky Dizco rural against an untouched French Balearic backdrop spanning the late 70s and 80s. If even the most assiduous of European record collectors consider the Occitan language music scene to be France’s best-kept secret then it’s as fair to say that the incredible multifaceted recordings of langue d’oc prog girl group Lei Chapacans has spent the last four decades hiding in plain sight. In all fairness this overlooked treasure chest of minority language excursions into folk funk, Balearic, bossa, John Coltrane penned jazz, baroque psych, Palestinian poetry, comedic synth skits (and even the rawest form of femme-fronted multiingual punky disco) has been stowed away in inconspicuous photographic record sleeves, falsely evoking something closer to contemporary C&W while oft-misplaced in record shop cassette racks alongside “traditional” spoken-word and scholastic albums. So for the uninitiated, don’t be too hard on yourself. The fun starts here. For those who are familiar with the rare and sought-after one-off solo album by Occitan singer Miquela and have craved for more, then you’ve come to exactly the right place. Lei Chapacans (a name that roughly translates to The Vagabonds) is the all-girl vocal group assembled by Miquela herself just two years after her debut release, having toured the word and snubbed major label record deal offers with a steadfast allegiance to the protection of the Occitan language in which this album is primarily penned and performed (minus a small amount of German and sarcastic English in one rebellious instance). For European collectors with a penchant for French savoir faire, but have further yearnings for folkloric femme funk, then it’s time to look towards the Occitan sunset where you will meet Lolo, Miquela, Sophie, Irena and Denise. These amazing, and undeniably culturally important recordings might have taken some time to find a wider audience, but for music lovers, crate diggers and vinyl vultures alike there are still a lot of tasty morsels out there to be scavenged and devoured, ask any self-respecting Chapacan and they’ll concur wholeheartedly.