Search:101 band

1987 in Umeå, Schweden, gegründet, wurden
MESHUGGAH vom Rolling Stone als "eine der zehn
wichtigsten Hard? und Heavy?Bands" bezeichnet und
haben sich den Respekt und die Bewunderung von Fans
und Musikern gleichermaßen verdient.
Im Jahr 2023 wird das Meisterwerk "Nothing" in
atemberaubenden neuen Vinylfarben wiederveröffentlicht
(weltweit auf 500 Stück pro Farbe limitiert), um den
Traum eines jeden Sammlers zu erfüllen.

A fuzz-drenched, genre-crossing collection of cover renditions, filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style - As Australia began a series of flash pandemic lockdowns in early 2021, Melbourne psychedelic fuzz rock band Jack Harlon & the Dead Crows' prolific frontman Tim Coutts-Smith began experimenting with home recording some of his favorite old songs. This rabbit-hole deep-dive eventually led him to bring the fans in on the project, with a social media post inviting suggestions of old underground songs they'd like to hear "Harlon-ified." The result is 'Hail to the Underground,' a collection of renditions by Jack Harlon & The Dead Crows selected for their musical importance and personal meaning, with the general throughline being that none of the original artists are household names. Filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style, this fuzz-drenched, genre-crossing love letter includes songs by under the radar icons like Bauhaus, God, Butthole Surfers, Joy Division, The Melvins, and more. Perfect for fans of Lowrider, Domkraft, Mothership, Wo Fat and Freedom Hawk - Gorgeous first limited vinyl pressing on black and pink swirl colored LP!

REXORIA veröffentlichen ihr drittes Studioalbum, das ihren Sound auf ein neues Niveau hebt! Starke Melodien, schwere Riffs und aufregende Keyboards sind auf 'Imperial Dawn' Programm! Empfehlung für Fans von Bands wie Battle Beast, Amaranthe, Dynazty, Unleash the Archers oder Beast in Black!

During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis.

He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.

The resulting sonic stew is a kind of futuristic sci-fi funk with an appropriately melted production aesthetic - instruments and samples jumping to the forefront then disappearing in the manner of the best dub records.

‘The Living City’ captures the Jon Hassell Group in September 1989, performing as part of an audio-visual installation inside the World Financial Center Winter Garden in New York City, with Brian Eno mixing the band live.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith. Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh. WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations. Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album. Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs. The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith.

Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh.

WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations.

Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album.

Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs.

The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

Death fucking Metal from Peru! A nuclear detonation of shredding and unbridled aggression! Spectral Souls was born in the beginning of 2019 in Lima, Peru, and from the beginning the idea was to work within the Old School Death Metal genre, going back and being inspired by the late 80’s and early 90’s bands and classic albums. During 2019 the band continued with the composition process and did it the first concert in mid 2019. At the beginning of 2020 and during the pandemic, the recording process of the first album “Towards Extinction” began at the Giovani Lama Studios. Because of the pandemic situation with government lockdowns and other obstacles, the recording took longer than expected, but luckily, after almost a year and a half of hard work, it was completed. The album contains 11 songs, in which different aspects within the old school Death Metal sound are explored, thus giving a sensation of interesting dynamics. The theme of the album is inspired by the humanity’s capacity for self-destruction, exploring the misery of man and his great enemies, such as religion, politics and social networks. When Hammerheart Records heard “Towards Extinction” they could not resist offering Spectral Souls a worldwide deal. “Towards Extinction” simply is a killer Death Metal album that brings to mind “Leprosy”, “From Beyond” and “Consuming Impulse”.

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Raw, heavy, aggressive and at times genuinely creepy, Kent metallers Graphic Nature are one of the most energized and exciting new bands to emerge from the British metal scene in years. Taking their name from a track on Deftones’ Koi No Yokan album, in 2019 Graphic Nature announced themselves with the single Grit, and immediately began carving a name for themselves as a ferocious new force in British metal. With their first EP New Skin, mixing moments of snarling nu-metal aggro and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, they have found their sonic identity, and are ready to release their first LP, produced by George Lever. As the band continue to rise – having already shared the stage with the likes of Employed To Serve and Palm Reader - there’s even more confidence now in who they are and what they’re doing. Things are only going to get bigger. Graphic Nature are here to stay!

Marram is the second album from Scottish saxophonist and composer Matt Carmichael, perfectly blending his favourite aspects from both jazz and folk. The record follows on from his extraordinary self-released debut ‘Where Will The River Flow’, which was picked up throughout the UK and Europe, gaining over 2 million streams and building him a reputation as a rising star and ‘distinctive new voice,’ as described by BBC Music Magazine. Marram is a vital and emotive album that encapsulates the openness and emotiveness of the Scottish coastal landscape. Based in Glasgow, Matt Carmichael is a part of the flourishing Scottish jazz scene, and has already won over a fanbase across Europe with the success of 'Where Will The River Flow.' In 2021 it prompted an invitation from GRAMMY Award-winning WDR Big Band to be a guest soloist performing Bob Mintzer’s arrangements of Matt's music. With Marram, released on Edition Records, Matt has crafted an identity and compositional voice that will launch him onto the international scene.

"Deining" is the first full album by bassist and composer Dries Laheye. We know Dries as a composer and bass player for bands such as STUFF., Hoera. and Lucid Lucia. He is widely referred to as one of the better Belgian bass players of his generation and now comes forward with a solo-repertoire on this debut-EP.

His intention was to create music that feels like it keeps moving. The result is a dreamy universe that flows through concrete elements and improvised passages. The compositions of this repertoire were written for solo bass guitar with effects as tools. The tracks are recorded live in the studio and some overdubs with voice, bansuri flute and synthesizer were added to create a more layered sound.

Recommended to people who love Taylor Deupree, Bibio, Bill Frisell, Skuli Sverrisson, etc.

Den Stillstand während der Covid-Pandemie haben Perkele genutzt, um ältere Songs im Proberaum neu aufzunehmen, die bisher gerne live gespielt wurden und stets ein positives Feedback bekamen. Die Proberaumvideos kamen auf YouTube so gut an, dass die Band mit Anfragen bombardiert wurde, diese neuen Aufnahmen auch auf Streamingplattformen zu teilen. Leider war die Aufnahmequalität zu schlecht dafür, dazu haben sich im Laufe der Jahre die alten Songs weiterentwickelt und es wurde Zeit sie auf den neuesten Stand zu bringen. Ein Studiotermin musste also her. Im Sommer 2022 war es dann so weit und hier ist nun das Ergebnis.
Zum 30jährigen Bandjubiläum gibt es also 5 Perkele-Klassiker, in neuem Gewand. Lasst Euch überraschen!

- Erste Pressung, schwarzes Vinyl, limitiert auf 1000 Stück weltweit Uffe Lorenzen (alias Lorenzo Woodrose) ist der Frontmann von BABY WOODROSE und SPIDS NOGENHAT, der bei diesem Projekt allerdings unter seinem bürgerlichen Namen aufnahm und zudem auf Dänisch singt. Das erste Ergebnis ist das neue Soloalbum "Galmandsværk", das am 10. November erscheint und während eines Urlaubs auf der kleinen Vulkaninsel Gomera nahe der Küste von Marokko geplant wurde, wo er sich zum Großteil in einem kleinen Raum verschanzte und nichts anderes tat, als zehn Wochen lang neue Songs schrieb. Uffe Lorenzen: "Ich hatte im vergangenen Winter die Gelegenheit, für ein paar Monate zu reisen und entschied mich, viel Zeit damit zu verbringen, den Ozean zu betrachten und Songs auf Dänisch zu schreiben. Ich glaube, ich habe meine eigene Methode gefunden und vielleicht sogar einen persönlicheren Blickwinkel. Ich denke immer noch, dass das Schreiben auf Dänisch eine Herausforderung darstellt, aber ich glaube, dass der ehrlichere Ausdruck eine ehrlichere Darstellung verdient, daher sollte der Name LORENZO WOODROSE, der wirklich nur für Leute außerhalb Dänemarks zwecks Aussprache gedacht war, fühlte plötzlich merkwürdig oberflächlich an ".Galmandsværk (übersetzt "Akt des Wahnsinns") enthält zehn Lieder, die in viele Richtungen gehen und sich anhören, als ob BABY WOODROSE, SPIDS NOGENHAT und DRAGONTEARS verschmolzen sind und zu etwas Neuem wurden. Der Sound des Albums ist überwiegend akustisch mit vielen exotischen Instrumenten wie Sitar, Tablas, Bansuri, Drehleier und Geige. Uffe Lorenzen: "Ich denke, ich bin an einem Punkt angelangt, an dem ich neue Wege finden muss, um den Prozess interessant und motivierend zu gestalten. Diesmal war das Schreiben auf Dänisch nur eine Herausforderung von vielen. Wir haben zum Großteil Akustikinstrumente verwendet und versucht die üblichen Fehle rzu vermeiden, indem alle Songs mit einer einfachen Aufnahme von Gesang und Gitarre anstelle von Rockdrums und Gitarrensolos begonnen wurden und das Album zu einem ganz anderen Universum gemacht hat als alles, was ich in der Vergangenheit getan habe." "Galmandsværk" wurde mit einem analogen Ansatz aufgenommen. Das gesamte Album wurde auf einem Band gemischt, was bedeutet, dass kein Schneiden und Einfügen und keine Verwendung von Pro-Tools erforderlich war. Produziert wurde es von Uffe Lorenzen, Anders Onsberg und Anders Kjærsgaard im wunderschönen STC Studio in Kopenhagen und von Flemming Rasmussen in Sweet Silence gemastert.

Das Trio, in Rio de Janeiro gegründet, ist stark vom englischen und italienischen Prog Rock der 70er Jahre inspiriert, aber auch von traditioneller und populärer brasilianischer Musik beeinflusst, was ihnen einen besonderen und ziemlich einzigartigen Sound verleiht. Caravela Escarlates drittes Album ist eine neue Reise in alte Progressive-Rock-Wege. 'III' erinnert an historische Themen in verschiedenen Kontexten - Römisches Reich, Mittelalter, präkolumbianische Zivilisationen und Zeitalter der Entdeckungen. Das Cover-Artwork ist ein Gemälde des britischen Künstlers J.M.W. Turner, das den Ausbruch des Vesuvs darstellt, der Pompeji im Jahr 79 n. Chr. zerstörte. Musikalisch liefert die Band eine tiefe Melange aus Orgel und Synthesizern auf einer soliden Grundlage von Drums und Bass. Sieben Tracks (zwei Instrumentals) befeuern den einzigartigen Ansatz von Caravela Escarlate, der universell Einflüsse inkl. brasilianischem Akzent im Prog Rock mischt.

Unreleased before music by Otto Sidharta, pioneer of Indonesian electronic music. Inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, the four pieces on Kajang express a contemplation of the self.

Otto Sidharta loves to travel, everywhere within Indonesia, in order to collect almost any environmental tones and harmonies he can gather, as an endless source of composition. He is also deeply inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, as in some remote places, they keep their own tradition very strongly.

What really interests Sidharta is musicians not interacting with other kinds of music, as in those deep villages, where one might find sounds that feel like very "natural". It results in works expressing Sidharta's personal impression from their music: "I just use my own feeling, with no calculation", not using the tribals motif or style.

Kajang is the name of a tribal people living in the south of Sulawesi, a giant island in eastern Indonesia, a closed community, that Sidharta visited twice: "They cut off their communication with the outside world. They live in a very traditional way and try to avoid any new development in culture that might impact their way of life."

Sidharta's previous album collected early pieces under the title Indonesian Electronic Music 1979-92, released on Sub Rosa in 2017. Kajang gathers a quartet of compositions from 2015 to 2020.

Otto Sidharta is born in Bandung, Indonesia November 6, 1955. In the late 1970' he studied first in Jakarta, under guidance of Slamet Abdul Sjukur, later at the Sweelinck Conservatorium in Holland. In 2015 he accomplished his doctoral study at Institute Seni Indonesia Surakarta and finished in 2016. For years he felt isolated as a composer, not only because of living in Indonesia, but because the nature of his music lay outside the mainstream of electronic composition. Until 2019 he taught for many years in the music departments of several Indonesian universities. He also managed an Indonesian symphony orchestra for five years, a job that included setting up a tour of Japan.

Das Debüt-Solo-Album von Billy Howerdel (A Perfect
Circle) nun auch auf Vinyl erhältlich.
Der in New Jersey geborene und in Los Angeles
lebende Sänger, Multiinstrumentalist, Produzent und
Komponist Billy Howerdel (A Perfect Circle) hat sich in
aller Stille als Musik-Autor mit einem ausgeprägten
emotionalen Verständnis, klanglicher Schärfe und einem
Händchen für große Hooks durchgesetzt. Nachdem er
Pink Floyd live erlebt hatte, widmete er sein Leben der
Musik und arbeitete als gefragter Tournee-und
Studiotechniker für Bands wie David Bowie, Guns N'
Roses und Nine Inch Nails

Dub & Sound International are presenting here one of the final recordings from the acclaimed Jamaican vocalists and dub poet George Scott aka Nazamba. He sadly passed in July 2022. This one saw him hook up with the label's studio band The Dubsetters for a heavy rhythm. It finds Nazamba, who has worked with the likes of French O.B.F. and others, retuning to the roots of reggae both in terms of the music and the lyrics and as such it marks a superb debut for the label. On the b-side is a brillaint dub to seal the deal.

Last month, nigh-on the 30th Anniversary of their debut album ‘Dad Man Cat’, Acid Jazz titans Corduroy returned with a brand-new double-sider: No More Me Me Me / Hypnotoad.

We’re honoured to still be working with the band, and today we present a special edition 7” single to mark the release. Limited to 500 copies. Available to pre-order now!

'No More Me Me Me' steps into to the atmosphere of Dad Man Cat’s vocal track, ‘Ponytail’, recalling the likes of Ramsey Lewis or Les McCann. 'Hypnotoad' is a sharp shock of instrumental funk - classic Corduroy.

A hot 45 for sure from the Fabric Four. Pre-order yours now! Limited release of 500 copies.

Frontline is the 9th studio album by Dub Pistols. Chief rabble-rousers & festival favourites, the band are known for their veritable feast of jump-up party-starting sounds, melding dub, reggae, dancehall, ska & DnB into an irresistible tonic that has seen them amass a merry band of Pistoleros across the world.

For this chapter, they are joined by a stellar band of featured artists including both legendary & award-winning collaborators such as Horseman, Top Cat, The Freestylers, Myki Tuff and Chezidek alongside long-term Posse members The Ragga Twins, Lindy Layton, Natty Campbell, King Yoof and Cheshire Cat, and regular Dub Pistol frontman Seanie T.

So, saddle up and join the gang, it's time to ride to the Frontline!

Wie so oft bei Deichkind geht es auf ihrem achten Studioalbum „Neues Vom Dauerzustand“ scheinbar um nichts – und doch um alles. Insofern passt es perfekt in eine Zeit, in der die Realität die Satire längst eingeholt und an Absurdität übertroffen hat. Und wie soll man auf eine derart groteske Wirklichkeit bitte angemessener reagieren als mit Überzeichnung in grellsten Farben und Klängen?
Auch wenn einem das Lachen im Hals stecken bleibt: Tanzen und Denken passen auf diesem Album perfekt zusammen.

Ihr neues Album „Neues Vom Dauerzustand“ ist bis zum Bersten gefüllt mit Punchlines sowie überwältigenden Sounds und Beats. Man kann in 2023 immer noch bestens zu Deichkind wippen, tanzen, ausgehen, durchdrehen. Und künftige Stehsätze wie „Gefährliches Halbgoogeln“, „Kids in meinem Alter“ oder „Auch im Bentley wird geweint“ werden uns noch lange begleiten.

Mit „Neues Vom Dauerzustand“ ist Deichkind ein Album gelungen, das mit bestechender Dringlichkeit neue Themenhorizonte erobert und in jeder Note absolut frisch und lebendig klingt.
„Neues Vom Dauerzustand“ erscheint auf dem bandeigenen Label Sultan Günther Music und enthält Gastbeiträge von u.a. Clueso, Fettes Brot und Drunken Masters

Papir's majestic third album back in print on vinyl for the first time in eight years! On this album, produced by Causa Sui's Jonas Munk, the band really found their sound, blending powerful semi-improvised psychedelia with jazz and atmospheric post-rock. At this point the Copenhagen trio had become masters of their craft, mixing together new and old, heaviness and ambience. Now, ten years after its original release, it stands as one of the highlights of post-millennial psychedelia. When Mojo writer Kieron Tyler visited Denmark's renowned SPOT Festival in the summer of 2012 he was blown away by Papir's performance as an experience that clearly stood out compared to the rest of the bill: it takes a lot to stand out at SPOT...but Copenhagen's Papir are arresting. Their guitar, bass and drums mesh powerfully in an intense, jazz-inflected instrumental rock. Voyaging through post-rock Tortoise terrain, it nods towards Hawkwind's freak outs and employs liberal dollops of wah-wah pedal. The pieces - not songs - twist and turn like Dark Star Grateful Dead. From these jumping off points, Papir scurry off on their own path. These guys are certainly on their own path and Papir III is one of their most fully realized albums to date. It encompasses everything the band represents in a single piece of heavy vinyl - from explosive, guitar-solo driven peaks through motoril krautrock grooves to peaceful and atmospheric soundscapes.

Peace And Love, Inc, the fourth album from Information Society is
celebrating its 30th anniversary, which was initially released on October 26, 1992.
The track "300bps N, 8, 1 (Terminal Mode Or Ascii Download)" is actually a text file encoded as modem tones. When decoded, the content is a tale by Kurt Harland about a bizarre but purportedly true event that took place when the band was playing in the city of Curitiba, Brazil. The title track, which hit #10 on the Dance Chart, takes aim at corporate culture and blind conformity but the band envisions themselves as one that sells peace , love and truth.

Originally released in May 2006 through the German label Karaoke Kalk, »Osaka Bridge« was an album that captured the joyful amateurism of Tori Kudo's free-spirited Japanese collective Maher Shalal Hash Baz and Bill Wells’ rich, wistful and easy sense of melody. Approaching brass band and jazz music with a knack for making playing imperfectly feel perfectly right, »Osaka Bridge« became nothing short of groundbreaking when it was released to critical acclaim, becoming an instant classic among musicians and fans alike. Coinciding with the release of the second LP of Wells’ on-going collaboration with Danielle Price on tuba, »The Sensory Illusions«, Karaoke Kalk makes this highly sought-after record available again on vinyl for the first time in 16 years.

The pairing of the prolific Scottish pianist and composer and the fluctuating collective active since the mid-1980s was an easy, natural one—a union particularly apt and complementary. But this is not to say that the 15 recordings which made up »Osaka Bridge« were in any way seamless. The horns played by these self-taught musicians strain and struggle with Wells’ luscious arrangements; each note is given all the stiff emphasis that you’d expect of a high school brass band at its first rehearsal. Songs fall in and out of rhythm, and a track like »Poxy« misses its intended swing feel by a country mile. Of course, this is all part of the magic. Maher Shalal Hash Baz take Wells’ melodies and strip them back to their emotional core, disallowing all artifice and revealing a stark, serene beauty.

Particularly affecting are »On The Beach Boys Bus«—described by colleague Jens Lekman as the »the most beautiful melody I’ve ever heard«—and »Time Takes Me So Back«, the two tracks sung by Kudo’s wife Reiko. Inspiration for both pieces came to Wells in dreams. The former was sung by a group of tanned Californians on the way to a Beach Boys convention, the latter by his grandmother shortly before she passed away. Reiko’s voice gives each song a haunting fragility that enhances their phantasmagoric character. »Cowtail Calypso«, on the other hand, was born when Wells asked Tori Kudo to sing Roger Miller’s »King Of The Road« over a syncopated, propulsive melody. Kudo’s ambiguous response (»maybe,« which according to Wells usually translated to »forget it«) resulted in a brief, idiosyncratic track that nevertheless exceeded all of Wells’ expectations.

Of the instrumental tracks, »Liquorice Tics« stands out for its rolling rhythms and circular melody, while »Family Sighs« creates a brooding atmosphere which perfectly encapsulates the conflicting feelings many people have for their immediate family. For the most part, the instrumentals are concise—a melody stated once and then dispensed with—but their brevity only heightens the impact. Even (or especially) 16 years later, »Osaka Bridge« continues to be an almost accidentally timeless document that captured fleeting moments and personal revelations at their most spontaneous and unaffected. As someone put it so aptly in a Discogs comment a few years back, »this is the album which is able to make aliens understand what humankind is about.« You better turn up the volume so that everyone can hear it everywhere.

'I Don't Know Why' is Kraak & Smaak's debut single from their legendary album 'Juicy Fruit', and it's an outstanding collaboration with Grammy-nominated soul royalty - Mayer Hawthorne.

It's a true meeting of minds which is exactly what you'd expect from these two class acts. Kraak & Smaak throw down the gauntlet in a popping boogie track with the Tuxedo frontman delivering his signature sweet and catchy soul melodies over the top. Sublime!

The flip sees another jewel in the K&S arsenal. The album version of their hit single 'My Mind's Made Up', which features live band member and regular collaborator Berenice van Leer, is a more funked up spin on the original. Nonetheless it brings more fire to play with on this one-off 7" release.


b B: My Mind's Made Up (Album Version) feat. Berenice van Leer

Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

PUPPY formed in 2015 when school friends Jock Norton (vocals, guitar) and Billy Howard (drums) met bass player Will Michael while working in a London bar. Later that same year, the band released their eponymous debut EP, that quickly earned comparisons to acts like The Smashing Pumpkins and Dinosaur Jr. A second EP quickly followed in 2016, and “Vol ii” saw the band take their first major steps into the live sphere, with UK festival appearances at Download and 2000 Trees. The Goat, Puppy's debut album, was released in January 2019, while the band were midway through an epic European tour with Monster Magnet. In support of the album, the band recorded a live set at BBC’s iconic Maida Vale studios (their second), and racked up festival appearances everywhere from Glastonbury to Bloodstock Open Air. That year also saw PUPPY travel to the US for the first time, selling out a headline show in Brooklyn’s iconic St Vitus Bar for Revolver Magazine. Without missing a beat, the band saw out the year by releasing a surprise EP, ‘iii’, and is now ready to open a new chapter.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

No Wahala Sounds are proud to present this latest compilation of rare recordings of the early 1980s from the vaults of Audio Productions Limited, Nairobi, Kenya.

The bands featured are from Kenya (Kangundo 'D' Boys, Kyanganga Boys Band, The Lulus Band and Gem Lucky Jazz); Tanzania (Founders International Band and Orch. Bima Lee) and the Democratic Republic of Congo (Orch Moja One).

These songs were originally released on 7" single on the APL imprints of Nyalando, Sound of Music, Boxer, Mlima and Julus, all overseen by producer Babu Shah.

The early 1980s were the golden age of benga and rumba, and these tracks are being released for the first time outside of Kenya.

Our previous releases have been featured on BBC 6Music and BBC3's Late Junction, as well as being reviewed in Songlines and Mojo.

Idlewild South is the second studio album by American southern rock band the Allman Brothers Band. Produced by Tom Dowd, the album was released on September 23, 1970 in the United States by Atco Records and Capricorn Records. Following the release of their 1969 debut, the Allman Brothers Band toured the United States extensively to promote the album, which had little commercial success. Their performances, however, did create positive word of mouth exposure that extended to more famous musicians, such as Eric Clapton, who invited group leader Duane Allman to contribute to his 1970 album Layla and Other Assorted Love Songs.

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

Magenta Vinyl

“Baile en el Infierno” & “Villa Incepciòn” are the new singles from Bogota-based cumbia band Conjunto Media Luna. Directed by accordionist and producer Ivan Medellin, Conjunto Media Luna makes a sound shift towards fresher and more street sounds influenced by the Sonideros from Monterrey, and the Chicano movement of the Low Rider Kumbias from California. However, Conjunto Media Luna still sticks to their roots by homaging the original format of the traditional Cumbia Sabanera from the Montes de Maria region of Colombia and including accordion licks that remind of Andres Landero’s style.
Edition of 500 copies, coming in a plastic sleeve including artwork printed cardboard.
Pressed on high quality Black vinyl wax (40 gr.).

Over the years, Washington has recorded sporadically as a solo singer and extensively as a studio drummer and, has laid tracks for various artists. Simultaneously, Washington was a full-time drummer (sometimes singer) in several different bands, such as: The Avengers, The Titans, and Happiness Unlimited. With Happiness Unlimited he migrated to the USA to work with Stevie Wonder. The other Bands he played with are Calabash and Bands that backed Artists such as Leroy Sibbles, Shinehead, Junior Reid, Gregory Isaacs, Sister Carol and the Meditations.

Over the years, Washington has recorded sporadically as a solo singer and extensively as a studio drummer and, has laid tracks for various artists. Simultaneously, Washington was a full-time drummer (sometimes singer) in several different bands, such as: The Avengers, The Titans, and Happiness Unlimited. With Happiness Unlimited he migrated to the USA to work with Stevie Wonder. The other Bands he played with are Calabash and Bands that backed Artists such as Leroy Sibbles, Shinehead, Junior Reid, Gregory Isaacs, Sister Carol and the Meditations.

When the Going Gets Tough, the Tough Get Going is the second studio album by English new wave band Bow Wow Wow, originally released in 1983. It was produced by Mike Chapman, who previously worked with Pat Benatar and Blondie amongst others. It is the final album featuring all four original members of the band and the first album that had no writers other than the band members contributing. At the behest of guitarist Matthew Ashman, vocalist Annabella Lwin wrote all the lyrics on the album. The lead single, “Do You Wanna Hold Me?”, reached #47 in the UK, but fared best on the Dutch charts, where it peaked at
#3. With the help of a video in heavy rotation on MTV, the song achieved success in the US.

When the Going Gets Tough, the Tough Get Going is available as a 40th anniversary edition of 1000 individually numbered copies on translucent pink coloured vinyl and includes an insert.

'Irish indie rock band The Academic are very excited to announce details of their forthcoming new album. “Sitting Pretty” . The album was produced by Nick Hodgson at Snap Studios in London. Sitting Pretty is an album about navigating life in your 20s; the uncertainties and the ever-shifting sense of self. “It’s about the entrance into true adulthood and how that can alienate you from yourself, making you feel like you’re playing a supporting role in your own life,” the band explain. “In one moment feeling 100% certain about everything, only to become overwhelmed with feelings of aimlessness and lack of direction in the next.” To complete the announcement, the band are excited to share four UK headline dates for February 2023, including the Roundhouse in London for their biggest headline show outside Ireland

Formed in 2007 in the Dolomite Alps region of Italy with a deep admiration for their native country’s hardcore punk luminaries in La Quiete and Raein, as well as eighties and nineties cult heroes in Negazione, Wretched and Indigesti. STORMO’s steady rise from unassuming beginnings has been one of consistently stirring song writing. Having amassed over 400 shows across Europe and the UK - including support slots to Converge, Full of Hell and La Dispute, as well as appearances at Fluff Fest - STORMO’s next chapter sees the band fully come of age. Lyrically, Endocannibalismo was written entirely in the band’s native tongue; partly as a byproduct of the albums nocturnal and instinctive writing process and partly in honour of their history as a band. Recorded and mixed by Giulio Favero (Zu) for mixing before being placed in the hands of Giovanni Versari at La Maesta for mastering, Endocannibalismo’s 11 tracks possess a crystalline clarity to service STORMO’s surging blastbeats, spiralling rhythms and noise punk cacophony, whilst staying true to the each songs deep seated primal nature. Seeking to tie together the whole process visually, STORMO took to artificial intelligence when creating Endocannibalismo’s art. Utilising specific prompts, the AI render was put through stages of mutation before culminating in its final form. A haunting graphic representation of living beings in a state of constant death and rebirth.

Historically Fucked is a four way entanglement made to create short, eruptive songs and then set about obliterating them from the inside, like improvising a barrel to encase themselves in and then proceeding to lick their way out of it. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing.
Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. They are from Manchester and often other places. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles. Some of these rampant exercises in avant are collected on ‘The Mule Peasants’ Revolt of 12,067’, the band’s new album, released by Upset The Rhythm on February 3rd. This is the group’s first release since 2018’s mantlepiece staple ‘Aliven Wool’ (Heavy Petting). This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and irradiated.

‘The Mule Peasants’ Revolt of 12,067’ is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”. It is the sound of sacks crammed full of aggregate, a chimerical mind-meld, a seductive din that is to a hound dog in blue suede shoes what a raking of the dorsal fin with a fat marrow pinecone is to a pelican in the midst of being fired from the academy.

‘The Mule Peasants’ Revolt of 12,067’ by Historically Fucked was recorded by Rory Salter, mixed by Otto Willberg and mastered by Mikey Young. The liminally worrisome artwork was painted by John Cobweaver.

“They say these days that History is Fucked. Nothing ever dies but continues to rule the earth as an undead tyrant that cannot accept its own decomposition, look earwardly upon the dance of the proudly dead and decrepit!”

Vymethoxy Redspiders, Leeds 2022