{"title":"New Releases \/ Reissues","description":"","products":[{"product_id":"mister-sweet-whisper","title":"Johnny Coley - Mister Sweet Whisper","description":"\u003cp\u003e\u003cstrong\u003eReleased: 15\/11\/24\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGenre: Spoken Word \/ Poetry \/ Jazz. LP comes with a 4-page booklet featuring artwork and writing by Johnny. Pressed in black vinyl. Transcendental poetry meets Southern Nightmare Jazz on the third album by Alabama-based artist Johnny Coley. Mister Sweet Whisper is the meeting of poet \u0026amp; artist Johnny Coley and the band Worst Spills, led by guitarist \u0026amp; arranger Joel Nelson. (Imagine King Tubbys Meets Rockers Uptown, but more like William Burroughs Meets Lounge Lizards in Ghost Swamp). Joined by vibraphone player and recordist of the group, Jasper Lee, Mister Sweet Whisper centers Coley as a gifted writer and unique elder voice, supported by an eclectic cast of friends \u0026amp; collaborators. Tapping into French surrealism and transgressive American poets such as John Ashbery, the songs in Mister Sweet Whisper evolve, cinema-like, with Coley as an uninhibited, almost mystical, narrator. Textural, jazz-like playing complements Coley's decadent landscapes, which glide by like cigarette-inspired invocations. Echoing, and at times, dissonant notes of saxophone, crystalline tones of vibraphone, and jagged guitar arrangements punctuate Coley's dreamlike visions, populated by ballet dancers, haunting nightclubs, and ghostly car drivers. Wistful and expansive, the songs in Mister Sweet Whisper speak of Coley's talent and natural ability to channel his poetic world into songs. A remarkable follow-up to Coley's first two albums Antique Sadness, from 2021, and Landscape Man, from 2022”which were praised as exquisitely haunting, sublime, hilarious and falling somewhere between Robert Ashley, David Wojnarowicz, and Intersystems, Mister Sweet Whisper arrives in full form: unpredictable and brilliant.\u003c\/p\u003e","brand":"SECRE - SECRETLY CANADIAN","offers":[{"title":"LP","offer_id":53388436799874,"sku":"DHR-01452","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/759fcc5d070cfdabe1f56616661eb8be.jpg?v=1731524684"},{"product_id":"various-soul-jazz-records-presents-d-i-y-do-it-yourself","title":"Various \/ Soul Jazz Records Presents  -  D-I-Y: Do-It-Yourself","description":"\u003cp\u003e\u003cstrong\u003eReleased: 01\/11\/24\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOut of print for 15 years, Soul Jazz Records'\u003cem\u003eDo It Yourself\u003c\/em\u003efeatures a host of post punk, punk, punk funk \/ dance and electronic experimentation from UK bands in the late 1970s and 80s that all arrived in the aftermath of punk. As well as loads of great music, the album also charts the rise of the independent music industry in Britain that similarly thrived during this time.\u003c\/p\u003e\n\u003cp\u003eFeaturing classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines, Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this new 2024 edition comes as a special coloured double vinyl pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.\u003c\/p\u003e\n\u003cp\u003eThis fully remastered album comes with extensive sleevenotes and photography as well as interviews with key behind-the- scene players - including studios, cutting rooms, print works - that together bring a fantastic insight into the DIY music and culture of this period and the explosion in the independent music industry after punk.\u003c\/p\u003e","brand":"Soul Jazz Records","offers":[{"title":"2LP","offer_id":53388516950402,"sku":"DHR-02478","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/78e4800431b61056e510443b13e24256.jpg?v=1731532555"},{"product_id":"violent-femmes-hallowed-ground","title":"Violent Femmes  -  Hallowed Ground","description":"\u003cp\u003e\u003cstrong\u003eReleased: 22\/11\/24\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHallowed Ground\u003c\/em\u003e is the 1984 follow up to the Violent Femmes legendary self-titled debut album. 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Created over a four year period ushered in by his much-loved 2020 Essential Mix and peppered with periods of self-reflection, a global pandemic, the blinking reemergence into the strobelight and a newly discovered love of surfing as escapism, it’s an album that's on course to eclipse the heights of its globally acclaimed predecessor. \u003c\/p\u003e","brand":"0052 - Beggars Banquet","offers":[{"title":"White Vinyl","offer_id":54851777855874,"sku":"DHR-00537","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/ad288f49ee0a3964e7553e7d7a6e053b.png?v=1732629744"},{"product_id":"stereolab-dots-and-loops","title":"Stereolab  -  Dots and Loops","description":"\u003cp\u003eThis was their fifth album and features lush lounge and jazz textures, it showcases the band's most complex set of rhythms yet. 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Deeply steeped in both music 6 theory and history, Deniz explores electroacoustic techniques, utilizing piano, guitar, voice, and synthesizer. Her aim is self-expressive; these experimental tactics are her narrative and worldbuilding tools. All at Once shows Deniz deepening her connection to the guitar, her voice, and the Sunfear project as whole. Deniz says, ”I drew inspiration from Dante's ‘Love That Moves the Sun and Other Stars’, poems by Pessoa, and the works of Lale Müldür, a significant Turkish poet.” All at Once is a darker album than its predecessor Octopus. Its sombre atmospherics and brooding tones were informed by the loss of friends in Istanbul, many of whom took their own lives. On “Above,” sparse guitar riffs meet swirling electronics in a doom-laden reverb chamber. “Bright and Wild” unleashes brittle blasts of feedback over its lush drones. Deniz’s voice, drenched in textural processing, intermittently peeks through the murk, like on the quietly despairing “Littleness.” Optimistic glimmers are still to be found, though, like on album-closer, “Form Changed,” which veers into aquatic pop territory with a softly sauntering beat undergirding its ethereal melodies. The artwork was designed by Eloise Shir-Juen Leigh, and the album includes an insert with liner notes and lyrics. 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The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.\u003c\/p\u003e\n\u003cp\u003eThe quartet last played together at OTO back in 2013, (released as Mental Shake on Otoroku), and Brotzmann humbly opened the return of the group saying, \"it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.\u003c\/p\u003e\n\u003cp\u003eThere are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”\u003c\/p\u003e\n\u003cp\u003ePeter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.\u003c\/p\u003e\n\u003cp\u003eIt was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter himself for all the extraordinary memories, his generosity and all he has given the music. 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It’s everything you’ve come to know and love from a Snapped Ankles album, amped all the way up until the ground begins to shake. \u003c\/p\u003e\n\u003cp\u003eThe sound of \u003cem\u003eHard Times Furious Dancing\u003c\/em\u003e evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album \u003cem\u003eCome Play the Trees\u003c\/em\u003e, and in doing so have harnessed that feral energy once again. This surreal human\/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. 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Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer Sheikh Amin Abdel Qader and the blind Bedouin legend Abu Bakr Abdel Aziz (aka Abu Abab). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from Basis Rahouma’s beastly transformation into a growling and barking man-lion by the end of “Yana Alla Nafsa Masouda,” to Reem Kamal’s hopeful-if-bitter handclapping party pivot “Baed Al Yas Yjini,” which descends into an almost Velvet Underground outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in Mahmoud al-Sandidi’s “Ana Mish Hafwatak,” wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab’s “Al Bint al Libya,” a sparse, slow- burning lament with minimal percussion, violin, and Abab’s nephew Hamed Abdel Muna'im Mursi on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. 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David Barbarossa reached out to John Dwyer saying he was a fan of Osees and he was invited to a show in London. The two hung out and hit it off, \"then I rabbit holed on Bow wow wow too…,\" Dwyer recalls. \"I reached out to David and suggested that we try and write some songs together... I flew David out, we met at my studio and spent five days writing basin drums ideas.\" The two got to know each other and had a lot of laughs.\u003cbr\u003e\u003cbr\u003eDwyer then brought in Weasel Walter, knowing that he would be perfect \"to add all that legitimate old-school weird proto-punk no wave guitar scratch to it, which of course he did masterfully.\" Next came Tom Dolas to play fuzzy marimba, and the fabulous H.L. Nelly, \"as I knew her from a record I’d put out back in the day for a band called Naked Lights from Oakland. 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In recent years, he has performed around Minnesota with his son Cyrus in Dercho Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There’s an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled By Turtles to realize his latest record. As friends and mentees of Low’s, taken under Sparhawk and Parker’s wing from their earliest days as a bar band, Trampled By Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: “There’s a certain vibe that has to do with underdog syndrome, coming from a small town,” Sparhawk muses. “Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you.” The two artists hold the kind of ironclad bond.\u003c\/p\u003e\n\u003cp\u003eFollowing Parker’s passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk’s last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk’s voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It’s an affirmation of all the people who have been vital in Sparhawk’s life and music, and an opportunity to hold each of their gifts into the light. It’s producer Nat Harvie, who has been collaborating and performing with him for years. It’s Sparhawk’s daughter Hollis, who duets with her father on “Not Broken.” And it’s Mimi Parker, too: “Too High,” “Princess Road Surgery,” and “Not Broken” were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.\u003c\/p\u003e","brand":"Sub Pop","offers":[{"title":"Loser Edition Cream Vinyl","offer_id":55155542229378,"sku":"DHR-04138","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/e86dcf824482ff34306ab3985110e853.jpg?v=1748604864"},{"product_id":"ben-lamar-gay-yowzers","title":"Ben Lamar Gay  -  Yowzers","description":"\u003cp\u003eGay's de facto debut album—the 2018 compilation Downtown Castles Can Never Block The Sun - properly introduced him to the world by placing fifteen stylistically diverse tracks from seven then-unreleased albums next to one another. The release of his critically-acclaimed 2021 song cycle Open Arms To Open Us followed, and then the explosive free-electronics of 2022’s Certain Reveries. 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Founded by the Australian drummer\/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. \u003cbr\u003e\u003cbr\u003eBeautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.\u003cbr\u003e\u003cbr\u003eSpilla tracks the continuing evolution of the project since the recording of their first album, Elders. The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.\u003cbr\u003e\u003cbr\u003eThe two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. 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In hindsight it all seems so simple- the marrying up of the most incredible looking records with the bands’ incendiary psyched out, kosmik washed swamp blues is one heck of a draw. \u003cbr\u003e\u003cbr\u003eAstutely described as “combining avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future”. Reference points are incredibly eclectic from Alice Coltrane, Sun Ra, Moondog, Captain Beefheart etc via The MC5 or the blissed out mantras of Popol Vuh to “imagining Spacemen 3 in the high desert being scorched by the hot hot sun”. \u003cbr\u003e\u003cbr\u003eThe background to this set is probably best coming from Jonny himself: “The origin of this remix project began in the final mixing of the album ‘Acid Blüüs Räägs Vol.2’ with Captain Future at Space Eko East Studios. When the Captain tried out some heavy dub treatments on the opening track ‘Cosmic Fanfare’ the idea for a whole parallel remix project pronounced itself as the righteous path. So, after mixing the album, the Captain set sail for the cosmos with his dub version of track 1. The logical next step was to put the call out to the Invocation family… Jason Stoll, God Unknown label boss and Sex Swing bass swinger gives ‘Fever Dawn’ the dark and heavy treatment. Long time friend and prolific cottage industry remixer The Lincolnshire Poacher takes ‘Wail Of The Dead Woods’ off to his murky hideout to close the first side. On the flip Brother Chris Rotter, the band’s very own sonic traveller of the white and the black keys, pulls out a very cinematic mix of ‘The Sun and The Red Sand’. And the final track ‘Celestial Symphony In D’ is treated to two re-imaginings; first from long term collaborator Charlie Behrens who treats us to some delicious experimental rupturings, under his new moniker Collapsing Drums, followed by former band mate and present collaborator Mr Chestnutt, with a Floating World Pictures cosmic gospel rave mix to close the party. Something for everyone….Dig!!!”\u003c\/p\u003e","brand":"Dreamhouse Records","offers":[{"title":"LP","offer_id":55456145867138,"sku":"DHR-04606","price":17.99,"currency_code":"GBP","in_stock":true}]}],"url":"https:\/\/dreamhouseldn.com\/collections\/new-releases-reissues.oembed?page=29","provider":"Dreamhouse Records","version":"1.0","type":"link"}