Search:2 mad

The ten-track LP marks the latest collaboration of "Swiss born Gotham bred" (SPIN) indie rocker Sam Koechlin with his longtime producer / "Second Beatle" Daniel Schlett (Iggy Pop; The War on Drugs) and mastering engineer Greg Calbi and features Chris Egan (Solange; Blood Orange) on drums and Josh "JD" Werner (Ghostface Killah; CocoRosie) on bass.

Singles Golden Days (Sept 16) and Never Let Me Go (July 22), the album's title track, offer a taste of what to expect from the "King Of Tears’" (Radiotélévision Suisse) sophomore effort: a soundtrack for the first day after what looked like the last, fueled by the madness of a rapidly accelerating career trajectory, the thrill of touring with his band again, and the promise of a reopening world whose studios, stages and dance floors we get to share again at long last. In 2021, Sam released his debut album Power Ballads, a largely home-recorded yet “well-crafted set of atmospheric post-punk” (KEXP) to international acclaim.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Nachdem Thees Uhlmann im Rahmen seiner "Junkies & Scientologen" Tour in den vergangenen drei Jahren 170 Konzerte gespielt hat erscheint am 02.12.2022 das Thees Uhlmann & Band Live Album "100.000 Songs Live in Hamburg". 3LP Edition (Grünes Vinyl, Gatefold), inklusive Din A2 Poster.

New pressing on cream vinyl, 1000 copies only. Gatefold sleeve, and 2x180gm LPs. Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band. Track sources: 01. Pennine studio version January 8th 1980 02. Ian Curtis interview excerpt - Castle Pub '79 03. RCA session May 1978 04. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 05. RCA session May 1978 06. Ian Curtis interview excerpt - Castle Pub '79 07. RCA session May 1978 08. Martin Hannett interview excerpt - Rock On, Radio 1 '79 09. Warsaw demo July 18th 1977 10. Ian Curtis interview excerpt - Castle Pub '79 11. RCA session May 1978 12. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 13. RCA session May 1978 14. Ian Curtis interview excerpt - Radio Blackburn '80 15. Live Amsterdam, Paradiso 11th January 1980 16. Martin Hannett interview excerpt, Rock On, Radio 1 '79 17. RCA session May 1978 18. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 19. Live Amsterdam, Paradiso 11th January 1980 20. Ian Curtis interview excerpt - Radio Blackburn '80 21. Live Eindhoven, Effenaar 18th January 1980 22. Bernard Sumner comment about Martin Hannett - presumably an excerpt from a radio or TV documentary 23. Live Eindhoven, Effenaar 18th January 1980 24. Ian Curtis interview - Radio Blackburn '80 25. Live Eindhoven, Effenaar 18th January 1980 26. Live Eindhoven, Effenaar 18th January 1980

The Flaming Lips veröffentlichten 2002 "Yoshimi Battles the Pink Robots", welches das meistverkaufte Album der Band ist und in den USA mit über 700.000 verkauften Alben mit Gold ausgezeichnet wurde.
Das Album enthält einen der kultigsten Songs der Band - "Do You Realize?" - sowie die Singles Fight Test, Ego Tripping at the Gates
of Hell und den Titeltrack. Die 20th Anniversary Deluxe Edition 5 LP Vinyl Box Set enthält das Originalalbum, B-Seiten, Demos und Radiosessions sowie weitere Raritäten. Die Vinyl-Box enthält 56 Tracks, von denen über 30 bisher unveröffentlicht sind, und 40, die zum ersten Mal auf Vinyl erhältlich sein werden.

Another classic release on Makin' Madd Records in the rebound! This time it's The Shadow aka Lou Robinson of SCAN7) "The Lurking Shadow EP" which came out 1995 will be soon available again on solid black vinyl. Re-mastered edition - don't sleep! Special thanks to Mr. Terrence Parker!

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

The main track 'THE GRYPHON’ is an interpretation of an unreleased track on DAT tape, made by Eric Nouhan (Alice D. In Wonderland Alias) for a special event back in 1992 and got lost after that.

Dennis Quin made his own interpretation based on one YouTube clip available from that club night in Amsterdam where DJ Dimitri (NL) played it from a DAT cassette deck. After 31 years this track will be released officially and will see the light of Day.

Followed with a Dennis Quin original one ‘RiGHT ON’ containing a banging drive and appealing vocal.

The B-side starts with a Vinyl only track that is called ‘TOURNESOL’ an atmospheric dub reconstruction of the original by Eric Nouhan that completes the vibe of the EP. ‘FAME TO BLAME’ brings the groove, oldskool but still in a timeless vibe.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

KSI’s first official full length album Dissimulation was an international smash debuting in the TOP 10 in 11 countries! Jam packed with top level features including Offset, Lil Pump, Trippie Redd, Lil Baby, Rick Ross, Smokepurpp, Jeremih, Rich The Kid, S-X, AJ Tracey, and many more. A limited pressing of 1,500 vinyl units have been made and will be released on 14 April.
KSI recently scored not one but TWO KO’s in his second boxing event! KSI is currently a TOP 5 artist in all of the UK, as well as one of the biggest YouTube personalities in the world. KSI launched the highly successful sports drink PRIME with LOGAN PAUL, which just recently became the OFFICIAL SPORTS DRINK of the UFC.

Madrileans Ribé & Roll Dann debut on Klockworks with a massive four-tracker ready for the dance floor. After leaving their signature on labels such as Semantica, Soma and Mord the duo now delivers a sublime collaborative EP of fast paced yet truly minimalistic techno on Berlin’s legendary imprint.

On A-Side ‘Preludio’ is an effortless frenetic groover, offering mighty drops to stir any dance floor and it has been Ben Klock’s secret weapon for a reason. It is followed by the classy, moody cut ‘El Vinculo’ which showcases Ribé & Roll Dann’s connection and their production chemistry. On the flip side ‘Pugna’ is a raw and elegant, atmospheric cut, while ‘Delirio’ delivers precisely what the title promises.

Ellie Goulding überrascht uns mit ihrem fünften Studioalbum „Higher Than Heaven“. Die Albumankündigung folgt auf Ellies aktuelle chartstürmer Single ”Easy Lover”, welche die Fans in gespannter Erwartung auf diese neue Ära von Ellies Musik zurückgelassen hat.

Mit Greg Kurstin (Sia, Maggie Rogers, Elton John), Jessie Shatkin (Charli XCX, Years & Years), Koz (Sam Ryder, Madonna, Dua Lipa) und Andrew Wells (Halsey, Yungblud) hat Ellie einige der besten Popmusiker für die Produktion des Albums gewonnen und verleiht der modernen Popmusik ihre eigene Note. ”Higher Than Heaven” ist vollgepackt mit ansteckenden Hits, bei denen Ellies unverkennbarer Gesang im Mittelpunkt steht, während die Produktion Popmusik vom Feinsten ist, mit kräftigen Basslines, schwebenden Synthies und euphorischen Melodien.

Das Album ist als Mintpack CD, Digipack CD und Standard Vinyl erhältlich.

SPHERES second release lands with Gilles Renneson's Callisto EP

Gilles Renneson's Callisto EP is the second release on Rua Sound's SPHERES sub-label. The second on the label following a much loved EP by Noroi in March, this EP delivers dark, UK-influenced broken techno for discerning bass music heads.

Gilles Renneson is one half of the highly acclaimed Brussels-based duo GoldFFinch, and he brings his exceptional production skills to the forefront with Callisto. Gilles has released on respected labels including Innervisions, Turbo, Fuse Music, 877, Dirtybird, and Glasgow's Numbers, and has made a major contribution to the post-dubstep and modern Belgian techno scene.

On Callisto, Gilles rolls out superbly creative percussion that moves between satisfying and anxious over the course of the EP, all loaded over broken kick drums. Fans of Livity Sound and Timedance take note.

The release comes packages with original artwork by Josje Bijl aka Yorobi.

Mastering by Bob Macc at Subvert Central.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

The duo of Charles McCloud and Roslyn Johnson made only two albums during their career…but those two albums (Everything Must Change and Spirit of the Living God) are among the most collectible records ever made in the gospel genre. In fact, they are so hard to find that we’re still searching for Spirit of the Living God to scan the artwork, but we managed to snag a copy of their 1981 debut Everything Must Change on the obscure Cheri label (though we may have to pass a collection plate to recoup the cost!).
It’ll just take the first track to show you why these records are in such demand; you have never heard such a soulful (check out those harmonies!), slow-burning rendition of that hoary chestnut “Amazing Grace” in your sanctified life! And with able production by keyboardist Julius Brockington, who played with Larry Young and headed up several outfits of his own, Everything Must Change is a crossover album in the best sense of the word, blending the spiritual fervor of gospel with the danceable grooves of soul and—dare we say it?—disco. Don’t miss the Donny Hathaway cover “Someday We’ll All Be Free,” too. Black vinyl release, first ever reissue in any format…limited to 1000 copies!

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

aEast Coast meets West Coast when Brooklyn’s own Harry Fraud teams up with Jay Worthy, the Los Angeles based rapper (by way of Canada) and LNDN DRGS front man, for the release of their collaborative album You Take The Credit, We’ll Take The Check. The duo dropped their last joint project back in 2020, Eat When You’re Hungry, Sleep When You’re Tired, which left their fans wanting to hear from the bi-coastal duo. Fraud and Worthy answered the call back in July of 2022, releasing the 14 track album, You Take The Credit, We’ll Take The Check, across all digital platforms to critical and commercial acclaim. Now available for the first time on vinyl,YTCWTC sounds better than ever. Entirely produced by Harry Fraud, YTCWTC features A$AP Twelvyy, BandGang Lonnie Bands, Big Body Bes, Conway The Machine, Curren$y, Kamaiyah, Larry June, MadeinTYO, Ramirez and Sha Hef.

Die Oster Offenbarung
Ostern 2023 - pünktlich zum höchsten christlichen Feiertag - erscheint Interludium am 07. April 2023.
Diese Veröffentlichung enthält sechs brandneue Studiotracks, darunter die Single „Sainted By The Storm“, welche bereits 2022 auf der berauschenden Wolfsnächte Headliner Tour von den Besuchern frenetisch bejubelt wurde. Mit dem Song „My Will Be Done“ liefern die Wölfe zudem einen der intensivsten Tracks der Bandgeschichte. Die neuen Stücke vereinen die musikalischen Trademarks von POWERWOLF und stellen allesamt die Stärke der Band und deren vom Gemeinschaftsgedanken geprägten Charakter in den
Vordergrund.

Ergänzt wird diese auditive Erfahrung von Perlen & Raritäten der Bandgeschichte. „Stronger Than The Sacrament” und „Living On A Nightmare”, welche bislang nur auf streng limitierten Samplern und sehr raren Tour-EP-Singles (aus dem Jahre 2012 bzw. 2015) zu finden waren. „Midnight Madonna” erschien bislang nur bei der Earbook-Edition vom Album The Sacrament Of Sin und die Fans aus Frankreich die in deren Landessprache vertonte Hitsingle „Bête du Gévaudan“ („Beast Of Gévaudan”) bereits von einer exklusiven Single kennen.

Kurz nach ihren allerersten Nordamerika-Shows, der (Un-)Holy Easter Mass in Köln, am 6. April 2023 (Album-Releaseshow) und vor erneuten Auftritten auf den großen europäischen Sommerfestivals, zieht das
Wolfsrudel mit Interludium auch 2023 die ganze Welt in seinen Bann.

Pressing Info: 180g translucent pink vinyl, limited to 250 copies, download card included. Five years on from their 2018 debut album 'Great Vowel Shift', Lviv, Ukraine-based krautrock outfit Sherpa The Tiger are now returning with their second album, 'Ithkuil, via Fuzz Club Records - with 100% of the profits from the release going to the band to help support them during the war. Where their previous work was centred around vintage synths, minimal ambient and neon-lit kraut-disco grooves, 'Ithkuil' sees Sherpa The Tiger explore more expansive and layered structures and compositions - incorporating intricate guitars, flute, arpeggiators and jazzy piano references, alongside an array of other elements that originate from a broad spectrum of past and present music genres. "This album bears the name of 'Ithkuil' for a reason", the band state: "Like the language we borrowed the title from, the sound of the record has a lot of levels, layers, and orchestral nuances. We consider this album and its pieces a single journey. Every track of the LP works as a mandatory stop for contemplation and reflection that happens on the route of the listener." Sherpa The Tiger began working on the new material in 2019 during their EU live shows in support of 'Great Vowel Shift' and chalk the more textured and cinematic results down to a more collaborative approach. "We wanted to rethink the Krautrock heritage explored on our last album and made a clear stylistic shift that was determined by a totally different approach to our music-making. The tunes on 'Great Vowel Shift' were cooked in a sort of live-looping mode with two musicians jamming. This time, with 'Ithkuil', the process of creation was shared among 4 musicians, and that approach had a great impact on the final result." Several years in the making and now released against a backdrop of war and invasion in their home country, 'Sherpa The Tiger' say that 'Ithkuil' acts as a snapshot of pre-war times: "Since the war caught us in the middle of planning the release as opposed to creating the music itself, the album can be perceived as a wistful reminder of the pre-war life that doesn't seem to be coming back. The life we actually experienced but lost any recollection of and which we are desperately trying to bring back through the music created by the other us now dwelling in an absolutely different reality."

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

"This is a melancholy, broody, moody and fun project to get lost in” – CLASH
★★★★★ “Few bands are brave enough to try something this ambitious, even fewer have the talent to pull it off” - UPSET
Accompanied by an awe-inspiring film that immerses viewers in 180 degrees of virtual reality, the brand new album finds the band reinvigorated once again, delivering a serene salvo of songs that defy the heavy weight of adulthood, faith and self-redemption through sounds unlike anything they have made before. Following their previous 2021 LP, The Million Masks of God - an acclaimed collection that cried for help as it explored a man’s encounter with the angel of death - The Valley of Vision puts forth a collective, cathartic expression of gratitude that is brought to life in both the songwriting of frontman Andy Hull, and the cinematic story directed by Isaac Deitz.

Writing for the record began with a chance occurrence in the summer of 2021. Hull was looking through his suitcase for his lyric notebook, but instead found a 1975 book of Puritan prayers called The Valley of Vision, which his mom had gifted to him the previous Christmas. The title became a mantra that helped inspire the idyllic yet otherworldly energy that permeates throughout the album and film. An evolution from its predominantly guitar-driven past, the band almost completely abandons the instruments it is used to, and instead plays with primitive yet powerful piano leads and shimmering atmospheres, backed by sub-synth frequencies of bassist Andy Prince and shapeshifting sounds of drummer Tim Very.
"

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

Michael Schenker, ein künstlerisch rastloser Mensch, der sich und seine Musik immer neu definiert. Ein
Ausnahmemusiker voller schöpferischer Kraft, Dynamik und Ideen. Mit „Rock Machine“ erscheint nun ein
Best of Album, welches Studio- und Liveaufnahmen beinhaltet sowie eine stattliche Anzahl von Gastmusikern (Don Airey, Gary Barden, Francis Buchholz, Wayne Findlay, Chris Glen, Neil Murray, Simon Phillips,
Herman Rarebell, Elliott ’Dean’ Rubinson, Chris Slade) vorweisen kann. Jetzt als strikt limitierte LP in
schwarzer Vinyl-Farbe erhältlich.

Purple Vinyl 2023 Repress


For the inaugural vinyl release of Psycho Bummer, we bring an EP from one of our label founders, DJ Scam (Brandon Ivers). Jungle and drum'n bass was the starting point for us as DJs, friends, and collaborators, so it seemed fitting to begin the story here.

The EP's opener, "Darkside Geezer", is a tribute to the transition point right before hardcore morphed into jungle in 1993. Although producers worked with a small palette of sounds back then, the emotion and freshness they were able to pull out of their limitations remains unrivaled. "Darkside Geezer" imagines an alternate reality of that period, drawing parallels between it and the transitions that 2020 brought us.

"Sodium Pentothal" is the roughest tune on this release, adopting the sonics of modern drum'n bass production, but channeled through the tropes of the music in its early stages. DJs like Sherelle, Tim Reaper, and Coco Bryce played a tremendous role in inspiring us (and keeping us sane) over the last year, so we wanted to stick to the tempo they helped rekindle.

The closer, "Black Swan", focuses on the simplicity of early hardcore and jungle, but breaks away with glassy chimes and a folding, geometric structure. Made with old samplers and tracker software, "Black Swan" was the first track Scam did for this release and it helped set the tone for what followed.

Psycho Bummer loves the feel of weighty vinyl, so we've opted for 180 gram pressings with a brilliant purple color. The album art, created by Canadian artist Ben O'Neil, is printed on a higloss laminant sleeve, which retains the striking colors of the original digital art.

re-release Neben Fehlfarben zählten Palais Schaumburg zur intellektuellen Speerspitze dessen, was man zu Beginn der 1980er Jahre marktschreierisch als Neue Deutsche Welle zusammenfasste. Anlässlich der Band-Reunion in traditioneller Erstbesetzung mit Holger Hiller und Thomas Fehlmann veröffentlicht Bureau B nun ihr leichtfüßiges und verqueres, abstraktes und poppiges, dilettantisches und versiertes Debütalbum, das seit seinem Erscheinen im Jahr 1981 - ähnlich "Monarchie und Alltag" - eine Sonderstellung einnimmt, in angemessener und ergänzter Form wieder, was das Ganze zu einem Leckerbissen für Kenner und Sammler macht: Das Reissue beinhaltet über "Palais Schaumburg" hinaus noch eine zweite CD/LP, die sämtliche vor dem Debüt eingespielten Stücke sowie einen bislang unveröffentlichten Mitschnitt eines Konzerts in Holland enthält. Das üppig ausgestattete Booklet präsentiert seltenes Fotomaterial und einen Begleittext von Chris Bohn, Redakteur bei "The Wire".

This EP was made during the Ukrainian war by Alex Pervukhin.

Lo Fidelity is back with another edition of Rave Invaders. This time Lennard Ypma drops a diverse selection of tracks, ranging from utterly deranged acid, classic house, and electro to a track that you can see as a sarcastic take on what modern society is doing to humanity. That's not all though: Legowelt joined in and made a remix of the acid-infused electro track "Wolf Men", transforming it into a spaced-out house tune that entirely morphs into total kick madness halfway, being a true potential closing anthem for the heavier sets.

It's great to see Mark Sherry putting vinyl out again, especially via the Record Republic.

This three-track vinyl EP is delivered on limited edition transparent blue vinyl, with a full colour 3mm spine sleeve with plain black inner sleeves.

Mark Sherry achieved mainstream chart success in the 90's with Public Domain.

Since then, relentless touring on the world stage together with no 1 releases on the credible download stires and a successful label with Outburst has kept him on the top of the tree when it comes to the harder edge of tech trance.

From Ellen Allien to U.R. Trax, Miss Kittin to Anetha, or Chloé to Romane Santarelli Discoverall the greatest female producers of Electronic Music in a nice double vinyl LP : Women Of Electro ! - Including - Miss Kittin - Chloé - Romane Santarelli - TDJ - Maya Jane Coles - Anetha - Cinthie The Blessed Madonna - Lilly - Palmer - Helena Hauff - Ellen Allien - Mansfield.TYA DeLaurentis - Grimes - Louisahhh !!! - U.R.Trax - Monika Kruse...

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

For part 1, Layton Giordani & HI-LO take you down the ‘Rabbit Hole’ on the A side, an epic synth storming techno workout that twists and turns as it pulls you in deeper. On the B, Charles D hits with ‘Traction’ a full-frontal powerhouse that expertly builds the tension before unleashing a gigantic drop ready made to do damage on the biggest systems out there.

Banoffee Pies Records in its 10th year of operations welcomes UK based artist Syz to the label for the 22nd Original Series Release via their "Headspin" EP. Kicking off 2023 with a 4 track collection of shape shifting hybrid techno ear worms.

Distinctly playful compositions from an artist continually paving their own sonic path between drum heavy and broken beat UK techno. Focused and dynamic club music made for the sound system explored through always evolving, grime influenced post dubstep sounds and percussions. BPR x

Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.

The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.

The Allergies hook up with The Pharcyde's Bootie Brown on their brand-new slab of throwback rap, 'Stanky Funk'. It's a match made in hip-hop heaven, with The Allergies channelling classic early 90's boom bap beat business. Beefed up lo-fi funk loops, neck-snap drums, cuts and rumbling bass lines provide the backbone for a legend to get busy over.

'Never Gonna Let Go' is on the B-side – a funky up-tempo breaks-heavy banger that sees The Allergies twin monster samba samples with roots reggae vocal rips, for full dance-floor destruction.

• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

ShitKid is the project of 24-year- old Åsa Söderqvist who made her debut last spring with a self-titled debut EP, which quickly propelled her into being one of the most talked about new acts in Sweden. The three-track ShitKid EP was released via the Stockholm based label PNKSLM Recordings in the spring of 2016 to great acclaim, reaching far beyond its lo-fi confines to find fans at the likes of The FADER, Pigeons & Planes and SPIN internationally, while her debut single "Oh Please Be A Cocky Cool Kid" appeared on national TV in Sweden the morning after it was released. An expanded version of the debut EP was released in the summer of 2016, which saw ShitKid playing several Swedish festivals before making her debut international appearances in the fall, alternating between playing to full houses in London and monthly shows in her new hometown Stockholm. Now ShitKid is ready to announce her long-awaited debut lp - titled "Fish" it's due for release on June 2 via PNKSLM Recordings on vinyl, cd and digitally. Recorded during the same sessions as "EP 2"it's another step on ShitKid's musical journey - offering up a sound that's clearer than the lo-fi murkiness of the debut EP but still very much the opposite to the slick pop dominating the musical landscape today. ShitKid will be doing select festival shows during the spring, leading up to a UK and EU tour around The Great Escape ahead of the album before spending the summer on the road with slots at ex Roskilde Festival announced already, with a lot more UK and EU dates TBA. Fish is written, recorded, performed and produced by Åsa Söderqvist and mixed by Simon Skeleton.