HANNAH LEW - 'S/T'

Formats

• LSSN104Y - LP (COLOURED)

  5061041822483

Details

*REPRESS ON YELLOW VINYL* “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.

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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

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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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PIRAMIDES - 'EL BIENESTAR DEL ESPIRITU'

Formats

• CFUL0360 - LP (COLOURED)

Details

The defining feature of El Bienestar del Espíritu is its sense of movement. While Pirámides have long explored psychedelic and experimental territory, this new album places rhythm firmly at the center of the experience. Bass and drums drive much of the record, creating hypnotic, trance-inducing foundations that pull the rest of the music into orbit over which voices and atmospheric textures gradually unfold. El Bienestar del Espíritu is the latest transmission from Monterrey (via Tucson) Pirámides. Pirámides have never been easy to categorize. Built around the songwriting of Patricio Coronado and shaped by a philosophy closer to musical collage than traditional rock orthodoxy, the band's music draws equally from folk traditions, improvisation, drone and repetition-based minimalism. That openness is evident throughout El Bienestar del Espíritu. The album's opening track, "En Tu Mirada," develops through subtle variations while "Refugio" or “con las aves” accumulate momentum through polyrhythmic and repetitive patterns. Elsewhere, "al caer la noche" and the closing "para llegar a ti" embrace a more meditative approach, built from drones and gradual transformation until distinctions between song and ritual begin to blur. What makes El Bienestar del Espíritu so compelling is the way it balances opposing forces. The music is rhythmically heavy yet also airy, deeply rooted yet exploratory. Vocal melodies emerge with mystical lyrics from either walls of complex rhythms or from open vast soundscapes with no clear pulsation. Mexican and Latin American influences are woven into the fabric of the record without ever becoming a stylistic exercise. Everything serves the larger drift. This isn't a record interested in quick conclusions. It moves deliberately, revealing itself through repetition, texture and groove. Most psychedelic records float. This one walks.

Tracks

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SPIRAL GALAXY - 'II'

Formats

• CFUL0361 - LP (COLOURED)

Details

Chicago cosmic explorers Spiral Galaxy return with Spiral Galaxy II, an ecstatic, deep-space voyage of pulsating drift by flutist Sara Gossett and Plastic Crimewave on guitar/keys/machines. Expanding on the terrain mapped out by their acclaimed 2020 debut, the duo push further into a world where flute, raagini, guitar, drone, and an old school drum machine merge into long-form galactic excursions that feel both meticulously crafted and gloriously untethered. SG II was aided by the guiding hand of Windy City weirdo-visionary Bobby Conn, who contributed textural treatments and overdubs, vintage percussive devices, and spoken-word passages that all deepen the album's ritualistic atmosphere, placing Spiral Galaxy somewhere between kosmische music, astral folk, and grooving minimalism. The album also draws in a wider circle of collaborators, including Conn's violinist/partner Julie Pomerleau (Monica BouBou) and musicians whose contributions grew organically from years of shared stages and sonic communion. Avant improvisers Drazek Fuscaldo (Mako Sica), alchemical folksters Jen Powers and Matt Rolin, synth-lord Jimmy Lacy (SiP), and motorik country deity Lawrence Peters all make guest appearances. These performers truly became part of the album's collective spirit, adding new dimensions to Spiral Galaxy's evolving sound. Pieces like "Axos IV" developed over years of live performance, while "E' Glynner" transmuted in the studio, revealing new colours and possibilities with every devotional layer. What emerges is pure head music that balances the earthly and the celestial. Eastern resonances, soaring flute lines, shimmering guitars, ticking electronics, and expansive drones, create an auditory world that is simultaneously rooted and interstellar. Spiral Galaxy II is an invitation to surrender to the drift, scoring twilight hours, altered states, and open horizons--where repetition and devotional sonics merge into a propulsive groove that barely holds reality together. Step into the orbit. Just don't expect to come back unchanged. FFO: Popul Vuh, AshRa, Cluster, Gila, La Dusseldorf, Terry Riley, Faust…

Tracks

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DEMONIA DISCO - 'ELECTRIC EYES / METAL FETISHIST'

Formats

• FC93 - 7"

Details

Demonia Disco is a new side project to Tom McDowell's Dream Division; the brains behind the acclaimed "Library of the Occult" label. 2 tracks of minimal, vocoder vox, italo disco, minimal synth, kraut pop flavours- the sort of thing that might have come out of 1981 Germany with next to no info and now sets you back £200 thanks to word of mouth reminiscences from the precious few who heard it in sweaty, black walled basement Eastern European alt discos alongside early DAF, Fad Gadget and co.... Hugely recommended and super limited in numbered silkscreened sleeve, labelless disks. PLAY LOUD!

Tracks

Press

** Very Limited Edition 7" / Screened sleeves, numbered edition on multicoloured wax" **

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