HANNAH LEW - 'S/T'

Formats

• LSSN104 - LP

  5061041821394

Details

“One foot out the door, another in the otherworld...” So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting. On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind... in decline, I take my time...” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up. In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday...” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take. Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

Tracks

1. Time Wasted 2. Sunday 3. Another Twilight 4. Siloed 5. Replica 6. Damaged Melody 7. Move In Silence 8. Distance Of The Moon 9. The Clock

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PROPHETIC JUSTICE MINISTRY - 'KEY TO WORLD PEACE'

Formats

• LSSN108 - LP

  5061041822056

Details

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of half-light with a clutch of earworms and affecting emotions. Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used. Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments. Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod. Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Tracks

1. Prelude To World Peace 2. Psyop 3. T-A 4. Trance 102 5. Life?s A Party 6. Naked Shine 7. Aurora Drone Cam 8. Lake Of Ice 9. Love Drum 10. Mariner's Apartment Complex 11. Spirit House Party

Press

Prophetic Justice Ministry?s debut vinyl recording. A gorgeous, mysterious mini album swirling in psychedelic fog and understated, affecting, melodic songwriting.

Audio & Video

HEATHEN AXE - 'HEATHEN AXE'

Formats

• DG010 - LP

  769152437613

Details

"I WANTED TO MAKE A TOTALLY FRIED RECORDING, QUICK AND DIRTY. SORT OF A CATHARTIC EXPULSION. CLEAN THE COBWEBS I RECENTLY BOUGHT A VESTAX MR44 (THE BEST SOUNDING 4 TRACK EVER IMHO) THE SAME 4 TRACK I RECORDED SOME COACHWHIPS. EARLY OCS ETC ON NOW WE HAD THE TOOLS WE NEEDED SO I SPENT A WEEK WRITING RIFFS AND BROUGHT THEM TO TOM DOLAS AND JOHN HODGE. WE RAN THEM ONE TIME AND THEN RECORDED THEM ON THE SECOND GO. LOOSELY IMPROVISED AND UNHINGED. EVERYTHING TURNED ALL THE WAY UP HOPE YOU DIG PLAY LOUD FOR FANS OF MAINLINER, HIGH RISE , COMETS ON FIRE , HAIR POLICE" —JPD HEATHEN AXE: JOHN DWYER GUITAR, VOCALS & NOISE MACHINES TOM DOLAS BASS, TAMBOURINE & CLAPS JOHN HODGE DRUMS RECORDED ON VESTAX MR44 CASSETTE FOUR TRACK TURNED ALL THE WAY UP RECORDED, MIXED AND EDITED BY JOHN DWYER AT PRACTICE SPACE & STU STU STUDIO MASTERED BY WEASEL WALTER ART BY SIERRA SMITH LAYOUT BY ETHAN MILLER

Tracks

1. Guzzler 2. Exit 3.False Floor 4. Infected 5. Agent 6. Caviar Spoon

Press

New John Dwyer release from new project Heathen Axe

Audio & Video

GUN OUTFIT - 'EARLY TAPES VOL: 1'

Formats

• LG14 - LP

  711574989010

Details

A remaster and first time pressing of the earliest Gun Outfit cassettes, which were produced by the band to sell on their first two national tours in 2009 and 2010, along with some unreleased tracks. The aesthetic at the time was basically an embrace of primitivism. Technical know how was actively disdained in favor of abject expressionism. The context was the hardcore scene, but it was Olympia, so there was some kind of hermetic awareness that could be read as art. This record shows the side of the band that was least afraid of what people thought. The tapes were for friends, there was no outside audience yet. The Emanation cassette was recorded by four track cassette wizard Adam Croce (from Broken Strings) at Carrie's dad (Chunk's) house during the summer. “We thought he was insane because he made us do multiple takes.” Reuben Storey of the death metal band Funerot was the drummer and played a role in arranging the songs. The tape had space on it that an LP didn't. The self-titled cassette was recorded in various spots throughout Olympia—mostly the slummy abandoned office building where every band practiced downtown and was mixed at the double wide where Carrie did work trade shoveling out horse stables for rent, Weeping Willow Ranch. Daniel Swire joined on drums after Reuben slid back into metal world; his style was more subtle. “The band got weirder and the tape got worked so much it started to bleed through. There was confusion throughout but a pretty consistent focus on the songs, a process that trans- lated as vibe.” Enjoy. Mastered by Tim Green at Louder Studios in early 2026, Pressed on 180g black vinyl with heavy Stoughton “Tip-On” jackets with a cardstock printed inner sleeve. 500 copies pressed.

Tracks

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WOODWOSE - 'WOODWOSE'

Formats

• LoS014 - LP

  769152437811

Details

Rooted in the Philadelphia experimental music and acidfolk revival scene of the early 2000s, Woodwose neither fits comfortably into said scene nor any musical movement current or past. While their sound can be described as primitive, in the sense of the primordial, not in terms of playmanship, their folk-horror aesthetic abuts a pop sensibility that undermines pure thrift in either genre. What results is a wholly unique sound that permeates one’s physiognomy like poison from a deliciously enchanted apple. Keyboardist / flautist / vocalist Jessica Weeks (Magus, The Valerie Project) and guitarist / vocalist Gillian Chadwick (Ex Reverie, Rusalnaia) together draw from a storied musical past to infuse a new creation whose iteration defies ease of labeling. Dueting vocals clamber and soar, guitars stab and arpeggiate, keys rumble and swoon as the rough beast that is Woodwose’s debut long-player stands upright, ready to be born into the world.

Tracks

1. Woodwose Theme 2. Younger Animals 3. House of Helix 4. Fawn Incantation 5. Amethyst 6. Three Pines 7. At The Swimming Hole 8. Grey Tide

Press

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ELIANE RADIGUE - 'ADNOS'

Formats

• IMPREC543 - 3xCDs

  793447554327

Details

When Eliane Radigue departed this realm in February 2026, at age 94, she left behind a singular, inimitable body of work. Her focus on slowly changing, highly detailed drone music yielded numerous monoliths among which Adnos stands tall. Composed and recorded on tape between 1973-1982 using an Arp 2500 modular synthesizer, these astonishing pieces exemplify Radigue's quote about how slow changes, vibrations deep within her sounds, ultimately shape the textures of her sonic work: "If a stone in the river moves, the river is not changed, but after a long time it becomes something completely different." This 2026 repress preserves the 2013 package design; a thorough collaboration between Eliane Radigue and John Brien of Important Records. A 24 page booklet of Adnos era archival material accompanies the three compact discs in a heavy duty quad-fold, 8 panel cardboard jacket printed inside and out. "Time is of no importance. All that counts is the duration necessary for a seamless development. My music evolves organically. It's like a plant. We never see a plant move, but it is growing continually. Like plants, immobile but always growing, my music is never stable. It is ever changing." - Eliane Radigue "Ms. Radigue, inspired by the idea of moving water as metaphor for sound in motion, writes, 'In the conch formed by sound waves, the ear filters, selects and emphasizes some areas of hearing, just as one's eyes would look at the shimmering of water: at the same time absent and multiple, oriented toward an outside whose image lives reflected in the inner universe.' 'A lot of the best new music can't be captured in sound bites -- you have to listen for a long time. Of no one is that truer than Eliane Radigue, who lives in France, but whose unarticulated time sense brings her closer to La Monte Young in sensibility than to anyone in Europe. Listen to her exquisitely-sculpted electronic works for two, three, even seven minutes, and you may hear nothing but a drone. But over a far longer period, her electronic drones thicken, begin to pulse, and change into complexly gritty textures so gradually that you suddenly wonder why you didn't notice the change. Over the long haul her works crescendo into glacially slow climaxes, bristling with harmonics, inducing in the listener an altered state of ecstatic spirituality.'" - Kyle Gann "A steady stream of sonic activity taking place right at the edge of one's perception." - New York Times "This piece represents the height of musical sensitivity." - Village Voice "Awe inspiring" - Rhys Chatham

Tracks

Tracklist: 1. Adnos I 2. Adnos II 3. Adnos III

Press

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