Latest release: 01 May 2026
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JAWBREAKER - 'CHESTERFIELD KING'
Formats
BB008 - 12"
759718089813
Details
**BACK IN STOCK ON GREY VINYL** Blackball Records presents the 20th anniversary edition of Jawbreaker's Chesterfield King. Originally released in 1992, this groundbreaking EP has been remastered by John Golden from the original tapes, and the increased sampling rate boosts some of the bottom end and mid-range. Available on vinyl for the first time in years. 5 tracks of music that defined the term "emo"...
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Audio & Video
YOUBET - 'YOUBET'
Formats
HARLP184 - LP
098787318401HARCD184 - CD
098787318425
Details
The self-titled third album by Brooklyn-based artist Nick Llobet and Micah Prussack, aka youbet, is an expansive, warm mesh of indie-rock, pop, and experimental textures. It shows a band that has grown well beyond its bedroom pop roots, into a more confident, complex, and loud force. Co-produced by Katie Von Schleicher (solo work on Ba Da Bing!, Wilder Maker) and Julian Fader (Remember Sports, Ava Luna). The best teachers never stop learning. They listen closely, stay curious, and let what they discover shape how they guide others. On their new self-titled album as youbet, longtime music educators Nick Llobet (he/they) and Micah Prussack (she/her) proudly act as both explorer and guide, sharing three-dimensional musical sculptures so confidently and esoterically their own that they couldn’t have been released under any other name but youbet. Created in motion and shaped between long stretches of touring, the album reflects a moment of ecstatic possibility and grit. Both sharpened and expansive, youbet grows from the confines of home recording and “bedroom pop” into something sturdier, louder, and unmistakably the band’s own. Llobet relocated to New York from Denver in 2013 and forged initial connections in the local scene, while creating youbet and writing two albums, but it wasn’t until meeting Prussack in 2022 that they discovered a different level of musical connection. When the duo started playing together, they quickly realized their uniquely shared musical language and eagerness to learn from everything, connecting over a vast array of musical influence and their own practice of teaching. The duo began experimenting musically, and their subsequent year of touring led to a new, more refined sound. That depth of surprise and expansive warmth radiates from album opener “Ground Kiss,” a late-night existential query written when Llobet found themselves adjusting to living alone after the end of an 11-year relationship. The song encapsulates striving, failing, and rebuilding amongst clouds of plucked Big Thief-esque glow and bursts of distorted frustration. Elsewhere on the album the duo’s vast influences - everything from The Beatles, Bernard Herrmann’s dizzying Vertigo soundtrack, flamenco, Japanese noise-rockers Boris, and more - weave in and out as the band crafts their own musical language. Co-producers Katie Von Schleicher and Julian Fader round out the album, the former adding synth glisten and the latter a drum backbone hammered into place by Prussack’s bass. youbet demonstrates Llobet and Prussack’s ability to weave beguiling musical and lyrical expression, pushing and pulling at the resulting mesh. What emerges is an album that doesn’t just break free of the artists’ former constraints, but reconfigures them into something sturdier: Llobet and Prussack’s collaborative language capable of holding contradiction, growth, and connection all at once.
Tracks
1. Ground Kiss 2. See Thru 3. Undefined 4. Worship 5. Receive 6. Fertile Eyes 7. Nadia 8. Embryonic 9. Bad Moon 10. Bad Choice
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Audio & Video
BONNER KRAMER | THURSTON MOORE - 'THEY CAME LIKE SWALLOWS - SEVEN REQUIEMS FOR THE CHILDREN OF GAZA'
Formats
SC67X - LP (COLOURED)
769152435534SC67 - LP
769152435510SC67CD - CD
769152435527
Details
They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it. Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance. Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification. As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together. My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”
Tracks
Tracklist: 1.Urn Burial 2. The Redness In The West 3. The Third Migration 4. They Came Like Swallows 5. The Living Theater 6. The Oceans Are Crying 7. Insight
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Audio & Video
TOFUSMELL - 'ALL MY TIME'
Formats
HARCD179 - CD
098787317923
Details
“You cannot plan anything. You can't expect anything good or bad. Everything is just going to continue to be however it will be.” This is the way musician Rae Chen encapsulates his debut album as tofusmell, All My Time. At times reserved and gracefully restrained, and other times overflowing and agitated, All My Time showcases Rae’s signature precision in vulnerable, clear-eyed songwriting, with a larger, lusher, and more fleshed-out scale of production than we’ve seen from him before. Chen poetically distills the uncomfortable complications of learning to release expectation from outcome, and in turn live contentedly in life’s constant, confusing uncertainty. It’s not necessarily an apathetic resignation, but rather a hopeful insistence that impermanence, and the toiling mystery it brings, is its own kind of steady salve. Following the release of his 2023 EP Humor, Chen spent a few months intermittently touring with Leith Ross before making the daring decision to move away from his home state of Florida to Winnipeg, Canada. Once there, he finished writing the songs that would come to make up All My Time. While Chen has primarily worked solo in the past – writing, producing, and recording his music himself – he brought in a collection of new collaborators to help build the songs of All My Time. Six of the songs were co-produced and recorded with Keiran Placatka in Winnipeg, and then developed throughout the months following Chen’s move. For the two of them, the emotional atmosphere conjured by the songs is key, as evidenced in “Pilot Fish” – Chen’s hushed vocals and shuffling guitar interplay seamlessly with swirling electronic chimes and warm, ambling base, swelling and receding like a gentle tide. Interspersed with Placatka’s contributions are four songs produced and recorded with Paul Larson in Los Angeles, each one with an energetic and dynamic live-band sound inspired by folk-rock of the early aughts. Tracks like “Voice Cracks” and “Force the Sun West!” incorporate reeling, fuzzed electric guitar and punchy drums bolstered by darker-toned production. The collection is rounded out with “Luck”, produced by Chen himself, and “Overspender”, produced with Jack Hallenbeck in Los Angeles and reminiscent of the whisper-close folk stylings of Sufjan Stevens and Nick Drake that Chen has become well known for. Despite the myriad hands involved in the overall production, All My Time remains cohesive, held together with Chen’s earnest and enveloping story-telling.
Tracks
: 1. Cravings 2. (Me Tomorrow) 3. Dreams I've Had 4. Pilot Fish 5. Voice Cracks 6. Overspender 7. Walk Me Back to Nothing 8. HONEY 9. Force the Sun West! 10. Luck 11. Rock Collector 12. Jacksonnnn
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Audio & Video
BEN AULD - 'LOSERDOM'
Formats
SSH063T - LP (COLOURED)
820200053916
Details
*TRANSPARENT VINYL* Ben Auld is a power-pop artist out of Norwich, UK. His band is made up of close friends that are active in the local scene. It features Duncan Baker on drums, Conor Etteridge on guitar, and George Witty on bass. A fan of lo-fi, scrappy DIY bands like Guided By Voices, The Replacements and Bill Fox, Auld spent his early twenties learning how to write the perfect 2 minute pop song. He also spent this time figuring out how to record to tape, and produce his own recordings. He moved to Bristol at 25 and befriended jazz musician and potter Nick Dover, who let him moonlight at his recording studio ‘Canyon Sound’. Over a two-year period he wrote and recorded the songs that would become Lemongrass (Earth Libraries, 2022), having performed and produced it entirely solo. In his late twenties, Auld moved back to his hometown after struggling to replicate the community he had back in Norwich. At this point, he began performing the songs of Lemongrass with friends who encouraged him to play live. “When I finished Lemongrass I sent it to my sister and she shared it with her boyfriend Conor and his housemate Duncan. They were super into it and so supportive.” He also began playing drums in an alt-country band for the next few years, touring Northern Europe and the length and breadth of the UK, before focusing once again on his solo work. Loserdom, Auld’s second album, is a co-release by UK label Safe Suburban Home and US label Repeating Cloud and represents a big departure from his earlier twee-folk sound. Loserdom is a louder and more ambitious shift toward blown-out power-pop, inspired by records like Grand Prix by Teenage Fanclub, Pinkerton by Weezer and Tony Molina’s Dissed and Dismissed. Auld wrote the record during a period of personal upheaval. Moving cities, leaving relationships and quitting bands resulted in songs filled with resentment, shame and a sardonic, over-the-top admission of failure. These songs are also a celebration of the relief that comes when you accept your losses. Auld first heard the term “Loserdom” said by Walter Becker in a Steely Dan documentary: “I thought it was such a funny and tragic term and felt some affinity with it”. Layered vocal harmonies and Bach-inspired guitar solos give the impression of a rock opera, while the arrangement and structure of these songs are concise and always conscious to not feel superfluous. Each song squeezes itself under the 3 minute mark with unhinged feedback, ripping solos and a refreshing degree of unpredictability. The drums and rhythm guitars were tracked at Sick Room Studios in the Norfolk countryside, and were engineered by Owen Turner who owns and runs the studio. All of the remaining pieces (the solos, bass, keys and vocals) were then recorded over a period of almost a year at Auld’s home. The record was mixed down to ¼” tape with Auld’s bandmate Conor Etteridge assisting with the mixing process. Auld reached out to Dylan Wall to master the record, having appreciated his work on Hotline TNT’s Nineteen in Love. Loserdom is certainly influenced by melodic, harmony-rich American bands such as Weezer, Jellyfish and Big Star, as well as the 90s Glasgow power-pop scene. Auld channels the heartfelt lyricism of Norman Blake’s songs in Teenage Fanclub, as well as the absurd guitar wizardry of Tony Molina. In doing so, Loserdom amps up the emotion, harmonies, and volume for an album that captures a rocky life transition with tongue-in-cheek drama.
Tracks
Press
RIYL: Weezer, Jellyfish, Big Star, 90's Glasgow power-pop, Tony Molina
Audio & Video
THE SLEEVEENS - 'NATIONAL ANTHEM'
Formats
212GONE - LP
769152436517
Details
A Dublin-born, stylistically-restless but fundamentally punk troubadour, Stefan Murphy emerged in the early 00s under the moniker The Mighty Stef, which became a full-band concern around 2007, wrapped up in 2016, and was followed by a short stint as Count Vaseline. Then, in 2019, Murphy met a gentleman by the name of James Mechan, who happened to be Stiff Little Fingers’ guitar tech. That last part is relevant, as any current convert to the band we’re discussing here can testify. And so is the first part, as Mechan wanted to record Murphy at his Nashville studio. Those plans were derailed by the pandemic but not forgotten when Murphy moved to Nashville in 2022. Work commenced, the pair were joined by Ryan Sweeney (of Cheap Time) on drums and Eli Steele (Sweet Knives) on lead guitar. The result was The Sleeveens, named after an Irish slang for “trixter”…not the earthly type responsible for a plastic Aztec death whistle on your exhaust pipe but rather the otherworldly one that temporarily vanishes the keys to the vehicle. The Sleeveens’ debuted on 7-inch with 2023’s “Give My Regards To The Dancing Girls” on Sweeney’s Sweet Time label and “UFO’s” b/w The Four Tops’ “Bernadette” on Interstate 94 Recordings in 2024, followed by their fantastic self-titled LP on Dirtnap Records the same year, which gained traction on independent radio thanks to bangers like “Metallica Font” and “Aretha Franklin”. An official Gonerfest 22 inclusion, the band has also shared stages with G.G. King, Schizophonics, Total Hell, TV Crime, The Chats, The Lemonheads and many others. Last year’s “Downtown”/”Drowning” (the latter a Greg Cartwright/R. Sound cover) 7-inch landed via Goner Records, who have now graced us with the real reason we are here, which would be album #2, National Anthem. This latest should and could comfortably sit on the proverbial shelf of rock history next to all-timers with titles like Even Serpents Shine, Eternally Yours, All Rise, Setting Suns, Radios Appear, Nobody’s Heroes, Sorry Ma, I Forgot To Take Out The Trash, and Rocket To Russia.
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JERRY GARCIA & MERL SAUNDERS - 'GARCIA LIVE VOL 22: SEPTEMBER 25th, 1971 LIONS SHARE'
Formats
JGFRR1068 - 2xCDs
880882691226
Details
GarciaLive Volume 22: September 25th, 1971 captures almost every note played across the early and late shows at San Anselmo’s intimate Lion’s Share, a tiny Quonset hut on the edge of town. The performances were originally recorded to 1/4" analog reels by Betty Cantor-Jackson and Bob Matthews. Jerry Garcia’s partnership with Merl Saunders carved out a parallel musical life in small Bay Area clubs. Joined by rhythmic anchor John Kahn, Grateful Dead drummer Bill Kreutzmann, and Tom Fogerty on rhythm guitar, who recently departed from Creedence Clearwater Revival. This quintet specialized in power pockets and strong grooves, giving Garcia space to elaborate and extend his musical knowledge, free from the expectations that followed him elsewhere. The key ingredient was fun. The setlist brims with rarities born from the spirit of that exploration: an ethereal instrumental reading of John Lennon’s “Imagine,” ‘50s R&B burners “Annie Had a Baby” and “W-P-L-J,” and the rare Jesse Winchester gem “Biloxi” (which is carefully restored here despite the wear of time). While the set closer, “The Night They Drove Old Dixie Down,” does not survive on the original tape, what remains is a rare slice of transcendent two-guitar Garcia/Saunders alchemy, now preserved in full color.
Tracks
EARLY SHOW
BAND INTRODUCTIONS
SAVE MOTHER EARTH >
IMAGINE
ONE KIND FAVOR
I WAS MADE TO LOVE HER
BABY WHAT YOU WANT ME TO DO?
BILOXI
LATE SHOW
HI-HEEL SNEAKERS
MAN-CHILD >
SUMMERTIME
THAT'S A TOUCH I LIKE
ANNIE HAD A BABY >
W-P-L-J
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Audio & Video
BIKINI KILL - 'THE ANTI-PLEASURE DISSERTATION'
Formats
BK07 - 7"
Details
**RESSIUE ON LTD ON BABY BLUE VINYL** Bikini Kill 7-inch originally released in 1995 and out-of-print for 13 years.
Tracks
1. In Accordance To Natural Law 2. Strawberry Julius 3. Anti-Pleasure Dissertation 4. Rah! Rah! Replica
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Audio & Video
BIKINI KILL - 'I LIKE F**KING / I HATE DANGER'
Formats
BK08 - 7"
Details
**REISSUE ON LTD CLEAR PINK VINYL** Bikini Kill 7-inch originally released in 1995 and out-of-print for 13 years.
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MIKE COLES - '50 YEARS IN THE WILDERNESS 1976-2026'
Formats
PCPMCOLES - BOOK
9781068340161
Details
The book showcases that work and the DIY spirit that has been a key part of his approach over 5 decades. Work that has been continuously evolving and generating unforgettable imagery. Having his art up on screens at the Royal Albert Hall for what turned out to be Killing Jokes final gig was a highlight for Mr Coles but his work will continue being inspirational for many designers and artists. This book represents that spirit, integrity and artist’s eye. • Printed on 130 gsm Art Silk paper. • 312 pages • 800 images.
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From Killing Joke and the Orb to the Church of Bleeding Gums, A graphic voyage of art, design and stubborn independence.1976 - 2026
Audio & Video
NOVELLER - 'I AM THE WEATHER'
Formats
EXP001 - LP
850051035052
Details
Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.” Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in “The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside.” Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise—a vocal track! It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noirish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you. I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue. RIYL: Steve Hauschildt, Oneohtrix Point Never, Fennesz
Tracks
1. Sunday in Copenhagen 2. Rainy Day Prophet 3. Divining Dance 4. The Way of Our Flood 5. Otherside of Mountainside 6. Portmeirion 7. Beyond the Fells 8. The Girl Who Was Death 9. First Day
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Audio & Video
MEMO PST - 'ETERNAL ACTORS'
Formats
ITR421 - LP
769152436401
Details
"LA Punks Memo PST return with another modern punk classic Eternal Actors, their new album out this May on In The Red. These 12 tracks capture the fury of late '70s rough and raw punk rock, with Orville Neeley crafting hit after hit of god-tier punk bangers. Vocalist Chris Shaw is also at his most versatile to date, with his lyrical capabilities and patented punk sneers dripping across every song. "Simply put, Eternal Actors finds two lords of the punk genre at their very best. There are classic punk bashers like “Dog Groomer Stylist,” and “Doomed to Repeat” but also primitive, bare-bones rock rippers like “Chrome Bubble” and Worship Me.” The band also delivers some of their most hardcore songs to date with “Concrete Club” and “Blown Away.” "With the San Clemente wrecking crew of Jackson Todd (drums) and Emmanuel Koulouris (bass) back again to round out the four piece band, this is truly a powerhouse presentation of punk music in 2026. If the band proved they were a punk force with their long sold out, self titled album, Eternal Actors may solidify their place at the top of the punk pile. "Recorded in late 2025 by longtime collaborator Mike Kriebel at Tropico Beauty Supply in Los Angeles, Eternal Actors is Memo PST's second album for In The Red." – Johnny Dogface
Tracks
#1 I Smoke It, It Smokes Me #2 Dog Groomer Stylist
#3 I Was A Fiend #4 Blown Away #5 Marked For Death #6 Fume With The Shaper #7 Concrete Club #8 Chrome Bubble #9 Nite Patrol #10 Doomed To Repeat #11 Worship Me #12 Invisible Eye
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Audio & Video
GENRE IS DEATH - 'ATTRACTIVE PEOPLE'
Formats
ITR420 - LP
769152436913
Details
Genre Is Death is an uncompromising noise duo made up of Ty V (guitar, vox) and Tayler Lee (bass, vox). Their sound is abrasive yet melodic, using heavy distortion, dissonant riffs, and reverberating vocals to create a wave of boldly hypnotic noise. The duo have been compared to the likes of Sonic Youth and Teenage Jesus and the Jerks, yet have managed to create a sound that is distinctly their own, avoiding mimicking the zeitgeist of decades before. Beyond the integrity of their music, Tayler’s intimidating glare, or Ty’s staggering gait, the duo share something truly inimitable— the overwhelming feeling that their music is a byproduct of the high esteem they hold of each other. The duo moved to NYC in August of 2023 looking for something more than their mundane suburban lifestyle of day drinking and playing doom metal in friends' basements…their move to NYC coupled with their desire to express something, anything, led to the inception of Genre is Death. The pair hit the ground running, playing anywhere and everywhere they could… however, it was only after a chance encounter with 80s noise forerunners Live Skull that the pair was introduced to the strange underbelly of NYC noise and began playing regular gigs with The Art Gray Noizz Quintet and Lydia Lunch. In 2025 the pair played New Colossus Festival, toured with Gogol Bordello, embarked on their first East Coast tour, and played gigs with Cherubs, Bush Tetras, and Jon Spencer. Their upcoming record was recorded with legendary sound engineer Martin Bisi (Sonic Youth, Swans).
Tracks
#1 Heaven Hits The Wall #2 Safe Songs #3 Attractive People #4 Lust For Now #5 Audience #6 Ashes #7 Repulse #8 I See Red #9 Up, Up #10 Prized Tune #11 Swine / Beyond Good People #12 Talk (Bisi?s version)
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Audio & Video
DEAD BOB - 'NOTHING CHANGES EVERYTHING'
Formats
DBLP2-2026X - LP (COLOURED)
633157359594DBLP2-2026 - LP
633157281475
Details
Exactly three years after the debut album, Life Like DEAD BOB continues to mine the archives of old and new demos that JOHN WRIGHT has created over the years, including two of the last songs demoed for NOMEANSNO with brother ROB WRIGHT. Whereas Life Like was primarily a solo project of John, since the formation of the live band the gang, FORD PIER, BYRON SLACK, KRISTY LEE AUDETTE and COLIN MACRAE take a far more active role in this record. Nothing Changes Everything is a 35 min, 8 song release that takes you on Bob's journey and keeps you wondering, “Where the f**k is this going next!” Balls to the walls and head in the clouds, you're in for a treat. With a couple years under their belts and return of SELINA MARTIN to collaborate on another song, Dead Bob takes it to the next level.
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JOZEF VAN WISSEM - 'THIS IS MY BLOOD'
Formats
INC042 - LP (COLOURED)
0698147246315INC043 - CD
0698147246322
Details
**RED VINYL**Bookending “This Is My Blood “ are two cinematic hypnotist slide lute pieces that evoke contemporary deserted landscapes. They were improvised and made for “ Maquina”, a film shot in the Colorado desert during a psychedelic trip by film maker Joaquim Pujol. The works on here, like the ecstatic second piece invite a return to long form listening. They explore contemporary darkness and contemplate personal loss. There is solely one vocal piece, “ Remission”. A worldwide concert tour of this material is slated for 2026/2027. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him "probably the most famous lutenist in the world”. Jozef Van Wissem is an avant-garde composer and lutenist who plays a unique all-black baroque lute. His timeless music is often described as hypnotic, minimal, and hauntingly atmospheric, merging beauty with a dark, meditative edge. His lyrics have a mythical Christian appeal, incorporating themes of love, faith, and the afterlife, often with a repetitive, mantra-like quality. Bridging classical traditions with modern sounds like drones, electronics, field recordings and voice. He collaborates with filmmaker and musician Jim Jarmusch, including the award-winning soundtrack for Only Lovers Left Alive, for which Van Wissem won the Cannes Soundtrack Award in 2013. He also scored the Sims Medieval Video game ( 2011), Uncle Howard ( 2016) Land (2018), Irma Vep (2022), Queens (2023) and Un Prince (2024). He did a world tour in duo with Jarmusch in 2025 and their 5th record “ The Day The Angels Cried” was released. Van Wissem tours extensively, performing in diverse venues from rock festivals to churches, and has worked with artists like Tilda Swinton and Zola Jesus. In 2019 he was commissioned by Cinematheque Francaise to score the silent horror film Nosferatu (1922). He released the soundtrack in 2022 on his own Incunabulum label. The New York Times wrote: Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. “My soundtrack goes from silence to noise over the course of 90 minutes,” he said, culminating in “dense, slow death metal.” In 2024 Van Wissem did a sold out nationwide American tour with the film. A worldwide tour is slated for 2026/2027
Tracks
1. What The Eternal Beginning Is 6.01
2. Praise Shall Sound From Shore To Shore,
Until The Sun Shall Rise And Set No More 9.02
3. Concerning Our Saviours Silence 7.02
4. How You Must Enter Into Suffering 7.07
5. Remission 4.27
6. All You Do All You Bare 2.26
7.. What The Eternal End Is 4.13