"A Ragged Ghost" is the eighth full-length album from electronic producer Jonas Reinhardt. Following albums on Kranky, Not Not Fun, Constellation Tatsu, and more, his debut release for Trouble In Mind brings together 11 new pieces that explore themes of life & death, netherworlds, and the liminal spaces in between. Taken together as a single narrative, the album offers a stirring exploration of mortality and immortality in what Reinhardt describes as 'a dance of religious syncretism, navigating spaces between the living and the dead'. "A Ragged Ghost" finds him synthesizing influences organically from familiar teutonic strains to the intense austerity of early 21st century electronic pioneers such as Biosphere and Susumu Yokota.

A whisper of the Italo-disco-esque romps of Jonas' 2012's "Foam Fangs" EP & 2013's "Mask of The Maker" LP merge with his more kosmische leanings into a sinister, slightly funky, but also studious suite that at times feels like a lost sound library record from the KPM archives. Openers "Ape & The Universal Axis" and "In Lotto Commodore" decidedly sound like a selection from a lost film score while others like the bubbling "Sly Tomb" recall the works of Roedelius or Vangelis' serene soundscapes. Meanwhile, fans of the electro-ambience of Manuel Göttsching's strobe-light, proto-house (on his seminal "E2-E4") or the pulsing insistence of John Carpenter's visceral non-horror scores (i.e. "Escape From New York" or "Assault on Precinct 13") will find a lot to love about songs like "Tumb Tumb" and "Wretched Orchestra of Armistice".

TRACK LISTING

1. Ape & The Universal Axis
2. In Lotto Commodore
3. Earthshaking Patsy
4. Oxus
5. Wretched Orchestra Of Armistice
6. Utter Phoenix Rampo
7. Quest Or Go Fanatic
8. Sly Tomb
9. An Alleged Jeremiad
10. Tumb Tumb
11. The Five Paper Tell 

Joys Union Group is a new Texas group that aims to blur the lines between new age, jazz and "New Weird America"-esque psychedelia and Trouble In Mind is honored to unveil "Boredom Euphoria", their stunning debut album. The group is led by Neil Lord (Future Museums) alongside Michael C. Sharp (Uniform, Sungod, Impalers), Kristine Reaume (Sungod) and Dailey Toliver (Molly Burch). The album was mixed by Ben Greenberg & mastered by Andrew Weathers. While the album still skirts the boundaries of the ambient & kosmiche zones Lord is known for is his solo Future Museums project, Joys Union Group fully feels like an organic, living entity, rather than a sequence of electronic signals; heady, deep, jammy & blissful. Leading off with the serene "Cloud Paint", the album arrives like a spring sunrise, as shafts of light peek through the treeline, leading into the title track "Boredom Euphoria", with its percussive swing driving under guitar & key splashes & embellished by a shimmering, cascading flute melody. "Shimmering Surface" & "Portrero" saunter forward next, both exuding the full weight of the Texas sun over their acoustic melancholy, feeling like an addendum to Bruce Langhorne’s mythic "Hired Hand" soundtrack. "Fragile Chrysalis" kicks off side two, with its drums swells & horn punctuations sounding like Electric Miles jamming with Bardo Pond. "Laughter In the Sky" is a mellower affair, with the flute returning to season the song’s lilting melody. "Fig" has echoes of the more studious outings from the post-rock era, while closer "Wiser" ambles home pleasantly atop a buzzing electric guitar lick that feels like the natural throughline from Fripp's guitar work with Eno.

TRACK LISTING

1. Cloud Paint
2. Boredom Euphoria
3. Shimmering Surface
4. Portrero
5. Fragile Chrysalis
6. Laughter In The Sky
7. Fig
8. Wiser

Partner Look are a Melbourne-based band made up of German sisters Ambrin (Cool Sounds) and Anila Hasnain (Studio Magic), who are joined by their partners Dainis Lacey (Cool Sounds) and Lachlan Denton (The Ocean Party). The members also share a history of friendship and musical bonds. Trouble In Mind (in conjunction with Spunk/Osbourne Again in Australia) is honored to be releasing "By The Book" - the band's debut - a twelve-track charmer that swoons and smirks with a scrappy, yet sophisticated take on sparkling indie pop. Partner Look first got together to write the song 'Jana', a virtual wedding celebration for their family friend whose wedding they couldn't attend in person. Wanting to believe that the hit single sent ripples through the Rhineland's music scene, Partner Look continued writing songs and playing live shows across Melbourne.

"By The Book" was recorded in a short window in May 2020, when Melbourne's lockdown was loosened for a few months, allowing five people at home. It was recorded in a studio built by Lachlan and Dainis in Dainis' and Ambrin's garage in Brunswick. Lachlan recorded all his drum-parts playing with the whole band in one go. The rest of the band re-recorded and edited their parts in the following three weeks. Dainis engineered it and Liam "Snowy" Haillwell mixed and mastered all tracks. The band is a vehicle for all members to share their own song ideas and collaboratively progress them in an open and encouraging space.

However, misunderstandings often underpin the creative process, as the band name exemplifies. Partnerlook is a German expression referring to two people wearing similar or matching outfits. After years of using the pseudo-anglicism to compliment friends wearing matching outfits, who must have been too polite to ask, Dainis and Lachlan finally wondered: 'what do you mean with Partnerlook?!' Partner Look's music often questions place, belonging and the relationship to 'home' in a connected and sometimes disconnected world, focusing on where we differ and where we, as humans, are inherently similar.

TRACK LISTING

1 Partner Look
2. Rodeo Tragic
3. Water
4. Right Here
5. Leroy
6. Speed Limit
7. Deutschland
8. Diamonds
9. Grasshopper
10. Chipsy
11. Geelong
12. Endless Plains 

The band was a crucial part of the Rose Mansion Analog label (including bands Soviet Pop, Hot & Cold, and Golden Driver) & the scene that spawned around it. Since the band's dissolution, guitarist Tom Ng has formed the (even more) minimalist duo Gong Gong Gong (Wharf Cat Records) and continues to hone the 'Phantom Rhythm' with each passing release. Read what their associate Fung You-Chung wrote of the album upon it's debut: Do the Offset: Spectacles need a drummer or a drum machine? There are a lot of different opinions on this topic. When the band first started, they were busy trying to answer the same question. In the early days, the band auditioned a drummer in Hong Kong's famous underground rehearsal space, President Piano Co. The session began with some roughly-formed songs, and the drummer's technique was hardly questionable, yet something was missing. Finally they decided to max out the volume on the three amplifiers they were using. At the end of the session, they couldn't even hear what each other were saying. The drumless concept did not come from this incident, but the totality of each instrument, tone, expression, volume level and the subsequent ringing in the ears did conglomerate into form through it. Beats produced by drums or drum machines do not always necessitate the sense of rhythm or listener's immersion into the music.

This is the art of the Offset: Spectacles: a demonstration of how to enter one's consciousness through rudimentary movements. The quantified beat case no longer describe the intertwining results of the tug-of-war between different instruments through the negotiation of volume - that is, the Phantom Rhythm. Although one could certainly take the quantified beat into account, that would defeat the purpose. Whether it was deliberately done or not, it doesn't matter. This result is not about technique or form, nor can it be pinned down to any sort of category, and it would be rather shallow to describe it as theory. This physical and mental dialogue not only connects the listeners (as well as the origination of its name.

If one were to suggest that history has provided adequate nourishment through the forebearers of Phantom Rhythm in Django Reinhardt, Bo Diddley, The Velvets, one could further suggest that the lyrics of the Offset: Spectacles is a realization of the characteristics of a spectacular society. As opposed to this age of totemic cities that oversaturated lofty ideas and golden rules, the Offset: Spectacles do not ask the listeners to explore the absolutes. The lyrics do not exist on their own, nor are they a subject of lyrical studies or dialogues crafted for enticing anyone, rather, they are a straightforward presentation of the society of the spectacles, or the spectacles of the society; bits and pieces of emotions left in the cities.

Whether this musical layering is an inversion, negation or just a void of rhythm, the essence lies in how the band absorb and replicate such cities, such character, and such mental states. When the chord strikes, when subjects intertwine in space, if listeners could still sense the scent of the band, urges from each embrace would undoubtedly enter their perception. The Offset: Spectacles debut album is presented again in glorious black vinyl, with remastered audio by Mikey Young, and includes a new insert with English translations of the lyrics by Vince Li. The album will also land on streaming services for the first time.

TRACK LISTING

1. Back To The Cave
2. Plateau Insomniac
3. Snags
4. Binary March (for Lee Chi-Leung)
5. The Loop Swing
6. Colour It In
7. Downward
8. Dead Air
9. Lament For Michaelangelo Antonini
10. Bodies’ Descendants
11. Curbstomp

Transcontinental, experimental duo Smoke Bellow have been at it since 2012, relocating from Australia to Baltimore, MD & back again and then BACK AGAIN (now firmly settled in Baltimore). The duo released the "Blooming/Middling" LP in 2014, followed by "Isolation 3000" in 2018 (both on Baltimore label Ehse Records) After a line-up shuffle, they eventually recruited one of their favourite drummers and dear friend, Emmanuel Nicolaidis (Thank You, Oh Hang), which found the duo refining of their sound into a dizzyingly attractive mixture of kosmiche serenity, minimalist composition, test-card psychedelia, and highlife guitar. With "Open for Business" the three members set out to create a set of songs more immediate and bare than previous outings. The album title itself is a cheeky reference to Maryland governor Larry Hogan's less than inspired motto "we're open for business". Half of the songs were written in a room together and the second half via email (for obvious reasons).

At the time they were listening to a lot of post punk and were struck with the partnership of drums and bass as propulsive instruments. The trio started writing songs around that idea - with the rhythm as a brace to hang their decorations. Sonically, Smoke Bellow are inspired by disparate sources. The heyday of Compass Point studios' famed rhythm section of Sly and Robbie sustained them for months. Others included good old VU, ESG, guitar hero Zani Diabate, The Raincoats (especially their under-appreciated second album, Odyshape), the frenetic sound collisions of the Flying Lizards, the ever warm blanket of Yo La Tengo, the evolving repetition of Stereolab, the understated genius of Asa Osborne, as well as Philip Glass and Steve Reich. The David Byrne/ Robert Wilson "Knee plays" reminded them of the joy of the spoken word set to music. Lyrically, Best & McHugh drew from life in Baltimore, from isolation (again), memories of life in Melbourne, their friends and each other. "We wanted to talk about resilience and resistance." Says Best. Recording and mixing took place between a remote cabin in the Smoky Mountains and Tempo House in Baltimore with Jared Paolini. "Maybe Something" includes cello from Owen Gardner (Horse Lords). Words on "Night Light" by Daniel Stephensen.

TRACK LISTING

1. Fee Fee
2. Hannan
3. Anniversary
4. Night Light
5. Furry Computer 2
6. Fuck On
7. Maybe Something
8. Wrong Size
9. Take The Line For A Walk

Guardian Singles hail from Auckland, New Zealand, home to (among many things) storied label Flying Nun & just about every great indie band of the last century. After seeing the band's livestream from Auckland for Gonerfest 17 in fall of 2020, Trouble In Mind is honored to welcome the band to the roster & reissue their excellent 2020 self-titled album outside of New Zealand for the first time. Formed in 2015, by Thom Burton on guitar (SoccerPractise, Moppy) and Fiona Campbell on drums (Vivian Girls, Coolies), the band hit the ground running, supporting touring bands in New Zealand like METZ, slots on the Chronophonium festival & tours in Australia. The band had recorded what would become their debut album in early 2018, simply as Campbell puts it "We just wanted good versions of the songs in our live set we were playing at the time."

The addition of Yolanda Fagan on bass (Na Noise, Echo Ohs) and Durham Fenwick on lead guitar (Green Grove) solidified the current lineup in late-2018, and Auckland label Moral Support released it in a micro-edition of 150 copies in the spring of 2020. The debut album packs a wallop; driving guitar lines dance across the rhythm sections propulsive throb hearkening back to greats like Mission of Burma, The Wipers & The Sound. Opener "Tea Lights Exploding" does just that, with an instantly memorable hook & sticky guitar line written as Burton explains as "a sort of "Fuck you" to a certain kind of pervasive rape culture and culturally lobotomized idea of masculinity that I was seeing too much of", followed by the moody "Being Alone". "Roll Undead" is next, with its persistent shuffle springing forth over a synth-siren before breaking open into an anthemic howl of a chorus.

Side one closes with the crunchy stutter-step of "Never Gonna See The Rain Again". Side two doesn't let up, with aptly-titled opener "Can't Stop Moving"s ragged guitar sting hanging in the air before the band launches in with Campbell's drums skipping underneath like an arrhythmic heartbeat. Their vital cover of The Sound's "Heartbeat" (from 1980's "Jeopardy") is next, injecting a nouveau sense of modern urgency into Adrian Borland's post-punk rager. "Gold Plated Cars"s razor-wire sway comes next, with Burton & Fenwick's guitar squall waltzing over a robust bassline. Album closer "Midnight Swim" is the album's moody anthem, ratcheting up tension the old-fashioned way balancing jangle and drone with one guitar's persistent strum and the other's strategic punches, all while the rhythm section holds down a steady forward motion. "Guardian Singles" is a vital document of a band breaking out of the chrysalis near-fully formed; melodic, urgent and on the verge of greatness. Look for more from the band soon as they head into he studio in 2021 to record the follow-up.

TRACK LISTING

1. Tea Lights Exploding
2. Being Alone
3. Roll Undead
4. Never Gonna See The Rain Again
5. Can’t Stop Moving
6. Heartland
7. Gold Plated Cars
8. Midnight Swim

Mac Blackout, a.k.a Chicagoan Mark McKenzie has been on the fringes of the Chicago music scene for two decades now, whether blasting brains in scuzz-punk bands The Functional Blackouts & Daily Void or as wild-eyed frontman for glam-punks Mickey. While his solo recordings as Mac Blackout have traditionally followed along the same path of KBD-infused, sci-fi punk rock, his new instrumental solo album (and first for Trouble In Mind), "Love Profess" offers listeners a new side. "Love Profess" is Blackout's first solo album in seven years, the result of - in his own words: "...years of artistic growth and preparation. Five years ago I shifted my focus from music to visual art, embarking on a creative and spiritual journey, finding new and evolved artistic visions through many mediums." Indeed as his art career has blossomed, the creative musical ideas & a budding interest in free jazz & avant garde music have flourished & guided his output toward something altogether different; stripped down minimal pop songs & analog synth excursions laced with a healthy dollop of free jazz & avant-musical expression.

Blackout says "This break from solo music creation resulted in years of internalized ideas, unexpressed energy, and the calling to explore new creative directions musically." These creative directions converged at the beginning of 2020 as Blackout began to record "Love Profess". From the opening exultation of "Wandering Spheres", longtime fans know they're in for something completely different; a rapturous wave of saxophone blasting forth gives way to a pensive electronic pulse and a tinkling of synthesized bells. "Forever" and "Call For Love" tick and drone like something off of Suicide's second album, the former's sweet melody & electric handclaps peppered with melancholy, while the latter's slinky rhythm makes you move. "Magic Hour 2020"s meditative drone closes out Side A, setting up Side B opener "The Virus"; an aural odyssey that transports the listener to "Revolutionary Tide"s righteous shuffle, with Blackout's sax blasting out like a call to arms. The album's title cut come near the end of Side B, with it's metronomic pulse and synth washes acting as a soothing balm, while the tender ballad "Dear Mom" closes us out.

Blackout says "2020 has been unlike any time in history. With these hard times comes great emotion, reflection, and realization. This album is an instrumental reflection and chronological portrait of the period in which it was created, January through July 2020. I hope you find solace, artistic friendship, inspiration, rejuvenation and the power to make positive change through this work of art for years to come." Indeed the entire album feels very much like an offering, with its tender & open expressions & reflections allowing a palpable passion to creep through. We can only hope it can guide us to a better tomorrow. 

TRACK LISTING

1. Wandering Spheres
2. Forever
3. Call For Love
4. Magic Hour 2020
5. The Virus
6. Revolutionary Tide
7. Love Profess
8. Dear Mom

RIYL: Deerhoof, Bush Tetras, Kleenex/Liliput, Delta 5, Pylon, Y Pants, Liquid Liquid, Sex Clark Five, Grass Widow, Palberta. After introducing themselves to the world with 2016's "Borrowed Floors" (Water Wing) and throwing down the gauntlet with 2018's "Mating Surfaces" on Kill Rock Stars, Lithics make the jump to Trouble In Mind for "Tower of Age". "Tower of Age" bristles with invention, wedging lyrical Dadaism into right angles of rhythmic minimalism. This is music in ellipses. A circular communication and a fusion of decades worth of musical insight into a singular refraction of thought & sound. Guitars plunk and scratch, and rhythms pulse and syncopate tightly wound around an imagist's philosophy to "use absolutely no word that does not contribute to the presentation." The band's austere approach to composition and wordplay elevates them above and beyond bands seeking similar sounds; it's not that they use less; it's HOW they use less. 

TRACK LISTING

1. Non
2. Hands
3. Beat Fall
4. A Highly Textured Ceiling
5. Snake Tattoo
6. Twisting Vine
7. An Island
8. Victim’s Jacket
9. Tower Of Age
10. The Symptom
11. Mice In The Night
12. Half Dormancy
13. Cricket Song Through Open Window