Search:2 mad

Drumcode welcomes another debutant to the fold, as one of techno’s most exciting new artists, Space 92, shares his thrilling two-tracker ‘Time’.

Stepping up for his maiden Drumcode release, ‘Time’ is stirring statement of intent. Staying true to its name, the title track was a slow burner, produced over a number of months between touring commitments. Space 92’s talent for crafting tracks that are tailor-made for big dancefloor moments is seen here in full flight, as tight drum programming leads into a stirring pad sequence before a boshing bass-laden breakdown arrives with crushing effect.

Long-time house music producer, DJ and journalist Anthony Teasdale is back with a new four-track EP for London’s Pamela Records.

The lead track is ‘Tango de la Boca’, an uplifting house tune with an unforgettable piano line and a groovy disco beat. Named after the barrio of La Boca in Buenos Aires, the tango feel is supplemented with layers of percussion, electric guitar stabs and moody strings. So far, it’s been played in clubs and on the radio by DJs like Rocky, David Holmes and Richard Sen.

“I think this is the most uplifting record I’ve ever made,” says Anthony. “Hearing those piano lines come in on a club system is a massive buzz.”

Second up is ‘A Pavement in Palma’ – a chilled jazz-house track. Inspired by lazy afternoons in Majorca’s capital, its swinging beat is joined by electric piano chords, live bongos and a bassline you can’t help but move to.

On Side B, we set sail on the good ship disco for ‘Deep in the Forest Something Stared’. Opening with bucolic bird noises – referencing the title – the track adds ’80s-style bass, glockenspiel melodies and soothing strings. It ends with a haunting piano motif that’s well worth the wait.

Finally, we return to 2023 with ‘It’s 5am Somewhere’, which blends old-school Roland 909 drum beats with minor chord synth stabs and rumbling piano melodies – plus an atmospheric breakdown guaranteed to excite any dancefloor.

Anthony says: “The EP reflects the music I’m listening to at the moment – which goes from classic techno to uptempo disco-house (and lots of synth pop!). The fusion of beautiful, often brittle, melodies with percussive house beats sets these records apart. And they sound as good on a dancefloor as they do in headphones when you’re relaxing at home.”

After a quarter-century hiatus, the legendary jungle artist M-Beat has resurfaced with Mekatune, his newly established label. Mekatune serves as a platform for unveiling not only his extensive back catalog but also fresh, innovative material from himself and other luminaries of the jungle music scene.

This is the limited edition yellow vinyl release of this record, capped at 150 units. Both the white sleeve and the vinyl have been handstamped to give the release an early 90’s recordshop feel.

‘Body’ is an unreleased track that only made it to dubplate back in 1994. A very sought after tune that has gained mythical status over the past 30 years. The flipside is the Tim Reaper remix of the classic M-Beat track ‘Peeni Porni’ and it could be argued that this is one of the best remixes Tim has done.

These will go quick!

Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London).

A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

2023 VINYL REPRESS.

IN HER OWN WORDS...

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with.

It was the first time Iʼd sat still for a few years; processed a lot of political anger and
emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.

The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

Repress!

The Pretty Things Classic Album S.F. Sorrow re-issued with original UK artwork on Madfish. This vinyl edition of the album re-mastered from the original analogue tapes. It is pressed on 180g heavyweight vinyl and packaged with the original UK artwork gatefold sleeve, with cover art from Phil May.


The Pretty Things created some of the most exciting and innovative records of the late sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.


'SF Sorrow' is one of the great classics of the psychedelic era. The album stands favourable comparison with 'Sgt Pepper' and 'Piper At The Gates Of Dawn' as one of the defining records of the time. Originally recorded at Abbey Road in 1967 and 1968 it was the first and the most complete rock-opera to be recorded and released, pre-dating 'Tommy' by a full year.

The Pretty Things are active today and still play live regularly.

"a psychedelic masterpiece" - The Guardian

DRA is happy to announce another Shape Vinyl in their upcoming Shape
Vinyl Series
We're excited to offer this adorable collectors items of NYHC Hardcore Kings
Madball!
Hardcore Lives and Doc Marten Stomp are taken from the album "Hardcore
Lives", an unapologetic, furious and fiercely catchy cluster of tracks from the
kings of NY Hardcore.
Issued Under Licence From Nuclear Blast!!
Shaped picture disc, limited to 500 copies worldwide - one time press!

AN ABRASIVE POST-PUNK WITH A HINT OF PSYCHE GARAGE, PRODUCED BY SYD KEMP. After a short briefing on the steps of the Saint-Etienne Cathedral of Toulouse, the band chose the name Cathedrale. A simplicity that can also be found in their sound: sharp and abrasive guitars, nervous rhythm and a touch of pop in the vocals. Cathedrale draw their influences mostly from British punk and American power pop, bands such as the Buzzcocks, Wire, Parquet Courts or Protomartyr. To follow up their two previous EPs, recorded locally at Swamp Land Studios, the quartet chose to cross the channel to record their third album in London at Haha Sound Studios. Under the supervision of producer Syd Kemp, their sound gained both in clarity and scale, whithout losing any of the urgency that made their previous recordings so endearing. The 13 tracks of Houses Are Built The Same will undoubtedly confirm Cathedrale as one of the most exciting rock bands in the French indie scene.

As a follow-up to the debut EP; Anaesthesia, Avilynn is back with another dynamic four track EP; Five Million Sunsets, which is accompanied by a remix from Ostgut Ton’s Answer Code Request.

‘Why So Serious’ opens the project and focuses on dynamically evolving and unfurling drums, plucked synths and modulating percussion while expansive reverberations and nuanced echoes further instil dynamism throughout. Answer Code Request steps up next, shifting the focus to an aesthetically industrial feel, twisting elements of the original’s synthesis and high-octane drums into an ominous, subtly unfolding take on things.

Opening the flip-side is title-cut ‘Five Million Sunsets’ which sees Avilynn explore a more textural landscape, dropping the tempo significantly and introducing circling dub chords, earthy sub tones and menacing bass swells throughout. Last up to round out the release is ‘Your Eye Was Bigger Than The Other One’, here Avilynn focuses her musical theme around “a trippy experience where the person has a distorted reality’’, the composition laid out across three and a half minutes melds together choppy broken drums, eerie tones and bubbling synths alongside gritty distorted moments and metallic chimes.

About the label:

Life experiences in macro and micro; daily reveries and introspections; byproducts of clubbing and city life…converted into sonic frequencies.

The focus of the label is on releasing physical products and the use of the cityscape as the primary interface between artist and music listener. Access to Avilynn’s music and multimedia output is made possible through stickers scattered about different cityscapes which feature personal quotes and QR codes. You can find sticker locations via insta’s highlights at instagram.

12” black vinyl, standard sleeve, limited to 500 copies, download card included. The long sold-out ‘Random Acts of Total Control’ EP by French outfit Unschooling is now being reissued by London-based label and promoters Bad Vibrations. The five-track EP was originally released in 2021 and deals in an energetic, lo-fi post-punk that revels in calculated discord. Their chaotic ensemble of complex mathy guitar lines, dissatisfied vocals and twitchy rhythm sections have drawn comparisons to such contemporaries as Omni, Crack Cloud and Women, but all wrapped up in a Contortions-esque No Wave spontaneity. Unschooling emerged with their self-released nine-song ‘Defensive Designs’ cassette in 2019 which made a splash in the French indie scene (and is now also being reissued on vinyl for the first time by Bad Vibrations). Its follow-up, the ‘Random Acts of Total Control’ EP, solidified their reputation further afield and established them as one of the most exciting new acts in the current school of post-punk revivalists. The band have since toured heavily around UK and Europe and appeared at Great Escape, Green Man, Wide Awake, Le Printemps De Bourges, Levitation France, Dot to Dot and more. Tracklist: 1) More Is More 2) Boo Boo Dragon 3) Social Chameleon 4) No Shoes 5) NYE

Der vielschichtige schottische Künstler und Musiker Barry Can’t Swim veröffentlicht sein Debütalbum, „When Will We Land?“, auf Ninja Tune. Das elf Tracks lange Album, bewegt sich von Deep House bis Jazz, von Ambience bis zur perkussiven Ladung Afrobeat und ist sein bisher umfassendstes und vielfältigstes Projekt. Alles wird durch seinen einzigartigen Sinn für Zielstrebigkeit und die typische Lebhaftigkeit zusammengehalten; mit seiner geschickten Finesse ist es ein Album, das als eine Art musikalische Autobiografie fungiert.

Der in Edinburgh geborene Musiker erregte 2020 mit einer Reihe von Veröffentlichungen Aufmerksamkeit, bevor er beim Ninja-Tune-Label Technicolor für seine sensationelle EP „More Content“ aus dem Jahr 2022 unterschrieb. Billboard ernannte ihn zu einem ihrer „10 Dance Artists To Watch“, während die Single „Blackpool Boulevard“ auf der Playlist von BBC Radio 1 landete – der Radio-Legende Pete Tong war begeistert, während Tastemaker:innen wie The Blessed Madonna und Annie Mac große Fans wurden. „Man kann sein Debütalbum nur einmal machen.“, betont Barry Can’t Swim. „Deshalb möchte ich alle Elemente der Dinge präsentieren, die mir bis jetzt an der Musik Spaß machen.

Classy French deep house label D3 Elements (D3, pronounced day-trois, is French for Detroit, which is a big inspiration on its sound) returns with more of that lush and timeless backroom tackle, this time from Neuronphase.

'Outside' is a dusty jam with atmospheric vocal samples and sustained chords, 'Information Society' has a more playful piano lead and ramshackle drums and 'Shadows' then brings some acid madness. 'Soru' comes as a skipping, percussion-laden original and as a hi-tek soul remix with cosmic leads from Hugo LX rework. Plenty to love here, as always from this label.

Das zweite Album des irischen Folk-Ensembles The Mary Wallopers folgt auf ihr hochgelobtes, selbstbetiteltes Debüt aus 2022. Irish Rock N Roll ist ein Album, das es schafft, das Chaos, den Humor und die Aufregung der Live-Shows der Band perfekt einzufangen und gleichzeitig die unglaubliche Emotionalität der traditionellen Balladen, die sie spielen, offenzulegen - sowohl in Songs, die von früheren Generationen weitergegeben wurden, als auch ihren eigenen.

Prolific producer Stu Bangas is back with a new collection of hard-hitting collaborations on Death Wish (Part II), the much anticipated sequel to the 2021 original. The project finds the Boston beatsmith rocking with some of his favorite emcees of all time as well as familiar names who always seem to bring their best work to his instrumentals.

For Stu, it’s an honor to work with the likes of Ras Kass and Psycho Les (of the Beatnuts). He made the connections while creating the phenomenal Empires LP with Eric Bobo (of Cypress Hill), and it led to the bangers you hear on Death Wish (Part II). The track with Ras, “Sus,” is an equally hilarious and hardcore takedown of weak-willed phonies, while Psycho Les teams with Celph Titled for the gangster-but-lighthearted “Y’all Clowns.”

“I grew up on all the Beatnuts albums, my whole group of friends loved them,” Stu says. “And Soul on Ice by Ras Kass? That’s a certified classic for any hip-hop head.”

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

After collaborating together for more than a decade, Jenny Hval and Håvard Volden released their first album under the Lost Girls moniker in 2021: Menneskekollektivet. The record received rave reviews, including a Best New Music mark at Pitchfork. On October 20th, 2023, the duo will release their second album Selvutsletter.


Like its predecessor, the album title is a made up Norwegian word, a word that almost exists. The band’s own translation of Selvutsletter is «self-effacer»: Someone who tries to erase themselves. Someone who is cleaning out themselves. Performing exorcism. Or perhaps just getting older, less interested in their own present self.


In 2022, Lost Girls were booked to perform a concert at Les Subsistances in Lyon, together with a few Norwegian performing arts groups performing their pieces. The band decided to use the opportunity to create all new material, and think of it as a coherent piece. Working in tandem, with Volden creating beats and wild sets of guitar chords and Hval restructuring the parts, creating melodies, words and adding more sounds, they started spiraling into unchartered territory of shorter, more concise and melodic songs than their debut LP Menneskekollektivet.


As the material developed, words already embedded in the chords, guitar sounds and rhythms began to dance around. Lyrics about cities after dark, music rituals and band practices of the 90s, and the early days of the internet began to take shape. These were Hval's own memories of her hometown and her obsession with creating music as a way of leaving it behind or even setting it on fire. Selvutsletter is, in that sense, about retracing Hval and Volden's steps back to how it felt to discover music, the intensely physical and communal experience of creating something. Certain tracks even go back further, to discover possible happenings in Norwegian towns and cities before any of us were born, using elements of faux folk singing.


Where Menneskekollektivet was about exploring club beats, and expanding and trying out structures, Selvutsletter is about disappearing in experiences. It combines the intuitive, late night feel of Lost Girls’ previous work with experimental rock music as its object. The result is more adventurous than nostalgic: A fiery, bilingual whirl of colors, words, vegetation and electricity.

Initial LOSER copies pressed on lovely Transparent Sun Yellow vinyl! This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

This 2023 edition of The Shins's beloved second album, Chutes Too Narrow, celebrates the album's 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins's breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, "New Slang." Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James' basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork's Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut. Critically acclaimed on release, and widely considered one of the best albums of the 2000s. Remastered from original tapes by Adam Ayan at Gateway Mastering.

SAVED! is an apocalyptic revelation on the complex, sometimes ugly, always nonlinear process of healing. Herein, Reverend Kristin Michael Hayter documents an earnest attempt to achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one's closeness to God is demonstrated through transcendental personal experience. Sonically and thematically, the record is both a logical conclusion to and a significant departure from Hayter's previous work as Lingua Ignota. Mirroring her personal evolution away from pain, she sheds the moniker that made her successful for its unflinching expression of lived trauma and instead builds herself anew, claiming her full given name, determined to see value within. Musically, while she continues to use historical avant-garde technique and formal constraints superimposed over accessible frameworks, she also strips down her instrumentation and degrades audio to provide a sense of musicological antiquity. Similar to Lingua Ignota, the record is steeped in pathos, but now the wrath of God gives way to His deliverance: "His boundless love shall make you whole."

SAVED! is an apocalyptic revelation on the complex, sometimes ugly, always nonlinear process of healing. Herein, Reverend Kristin Michael Hayter documents an earnest attempt to achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one's closeness to God is demonstrated through transcendental personal experience. Sonically and thematically, the record is both a logical conclusion to and a significant departure from Hayter's previous work as Lingua Ignota. Mirroring her personal evolution away from pain, she sheds the moniker that made her successful for its unflinching expression of lived trauma and instead builds herself anew, claiming her full given name, determined to see value within. Musically, while she continues to use historical avant-garde technique and formal constraints superimposed over accessible frameworks, she also strips down her instrumentation and degrades audio to provide a sense of musicological antiquity. Similar to Lingua Ignota, the record is steeped in pathos, but now the wrath of God gives way to His deliverance: "His boundless love shall make you whole."

Remastered by Mischa Janisch 2LP

Das österreichische Musikduo Kruder & Dorfmeister, bestehend aus Peter Kruder und Richard Dorfmeister, startete in den 1990er Jahren eine Weltkarriere. Das Duo ist bekannt für seine Downtempo-Remixe von Hip-Hop-, Pop- und Drum-and-Bass-Songs. Ihr erfolgreiches Mix-Album "The K&D Sessions" (1998) wurde in Clubs von Ibiza bis New York rauf und runter gespielt und gilt als Klassiker des Genres. Im Laufe der Zeit wurden die beiden Musiker mit Remix-Arbeiten von Künstlern wie Madonna, Depeche Mode und Roni Size beauftragt. Danach gingen Kruder & Dorfmeister getrennte Wege und waren mit Soloprojekten erfolgreich. Mitten in der Pandemie 2020 veröffentlichten sie ein weiteres gemeinsames Album. Es trägt den Titel "1995" - eine Anspielung auf die Glanzzeit von Kruder & Dorfmeister. Im Oktober 2023 wird nun erstmals eine remasterte "Conversions - A K&D Selection" auf Doppel-Vinyl erscheinen. Ein nahezu historisches Musikdokument eines der erfolgreichsten österreichischen Musikduos

Nachfolger des von der Kritik gefeierten, selbstbetitelten Debütalbum, Vambo mit ihrem 2. Studioalbum. Zwölf Tracks dienen als Schaufenster für das beeindruckende musikalische Talent und die energiegeladenen Auftritte der Band. Die Songs bieten eine Mischung aus melodischen Refrains, knallharten Riffs und dynamischen Gitarrensoli und versprechen ein aufregendes Hörerlebnis. Das Album lässt sich sowohl von "klassischen" Rock-Sensibilitäten als auch von zeitgenössischen Einflüssen inspirieren und präsentiert eine frische und innovative Herangehensweise an das Genre. Produziert von Ray Stiles, ehemaliges Mitglied der 70er-Jahre-Glam-Rocker Mud und langjähriges Mitglied von The Hollies. Jack Stiles Gesang, mit seiner fesselnden Präsenz und kraftvollen Stimme, ist eine magnetische Kraft, an der Gitarre entfesselt Pete Lance eine donnernde Energie, die die Aufmerksamkeit des Publikums vom ersten Powerchord an auf sich zieht, David Flitt, ein dynamischer Schlagzeuger, der die treibende Kraft hinter Vambo ist, der Kraft und Subtilität verbindet. Schließlich noch James Scotts provokante Basslinien verleihen Vambos Musik Tiefe und Kraft. Wie in der "High Hopes"-Strecke des Classic Rock Magazine zu sehen ist, haben sich Vambo als aufstrebende Kraft in der Rockszene etabliert, die nicht zu übersehen ist. Als Live Band ausgiebig auf großen Festivals unterwegs, z.B. das Download Festival, das Isle of Wight Festival und das Stone Free Festival und als Support für Acts wie Jared James Nichols, Y&T, Praying Mantis, Stray und Cats in Space.

There are few things in life quite as mesmerising or outrageously euphoric as the nine-strong Umlauts army effervescing in fulsome force. Rebelling against labels, transcending borders of land and time - packed with twin vocalists equally competent in their skewering south-London drawl as they are in German, Italian or French - as in touch with the nostalgias of First-Generation post-punk or 80s pop as they are with the techniks of contemporary pop or big beat dance - the Umlauts are paragons of trans-europe excess, dripping with inarguable edge; shambling wildly from chaotic cool to bombastically exquisite order; invested with unhinging, socio-political bite, dancing in a rave of their own.

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.

"Dahab Days" is the highly anticipated third album from acclaimed British guitarist Rob
Luft, who has witnessed remarkable growth in Europe in recent years, notably as a BBC
New Generation Artist and through collaborations with Elina Duni. Luft's debut album,
"Riser," released in 2017, made a lasting impact, showcasing his exceptional talent and
distinctive musical voice. Building on the success of "Riser," his second album, "Life is the
Dancer," further solidified his reputation as a versatile guitarist and composer.
With "Dahab Days," Luft embarks on another significant stride in his artistic journey. This
album represents a notable expansion of his sound, incorporating a string quartet and
reinforcing the contributions of his talented band members, who have become an integral
part of his musical identity. Luft's well-deserved reputation as a versatile guitarist shines
through as he delivers uplifting improvisations that evolve in hypnotic and contemporary
ways, captivating listeners with their compelling and immersive qualities.
The album derives its name from Dahab, a location in Egypt where much of the music was
written. Over the past three years, Luft has spent considerable time there due to the
Covid-19 pandemic's limitations. While not overtly drawing from the music of the region,
"Dahab Days" subtly reflects the influence of his experiences in that unique setting.

Mit “Twentysomething” gelang Jamie Cullum der internationale Durchbruch. Zum 20-jährigen Jubiläum erscheint das Album jetzt erstmals auf Vinyl!

“Twentysomething” machte den Engländer 2003 noch nicht ganz zum Popstar, aber immerhin zum bestverkaufenden britischen Jazzkünstler in der Geschichte der UK-Charts. Das Album, auf dem der Sänger und Pianist eine peppige Mischung aus Jazzstandards, Pop-Covern und eigenen Songs bot, verkaufte sich weltweit über 2,5 Millionen Mal und brachte Jamie 11 x Platin, 11 x Gold und 2 x Silber ein.

Zum Jubiläum erscheint “Twentysomething” als ”20th Anniversary Edition” auf Doppel-LP mit fünf BonusTracks, darunter die Single Version des Ohrwurms “Everlasting Love”, die Jamie 2004 für den Soundtrack des Blockbusters “Bridget Jones: The Edge of Reason” aufgenommen hatte.

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

Produced by Katie von Schleicher and Sam Griffin Owens (Sam Evian), A Little Touch of Schleicher in
the Night was recorded with a bunch of poker buddies the two accumulated during the pandemic.
Lyrically wry and classically lush with strings and horns, it’s a songwriter album that nuzzles up to the
Arthur Russell and Kirsty MacColl LPs in one's record collection. In narrowing the gap between her
personality and her songwriting, von Schleicher has made her most untroubled album.

Sophie Lloyd is one of the most prolific guitarists on the world wide web,
a trailblazer who is redefining the concept of a "bedroom" guitarist
A talented composer and accomplished musician, Sophie graduated from the
prestigious BIMM in 2018 with a First Class Honours BMus in Popular Music
Performance, honing and refining a talent she has nurtured since childhood.
Since then, she has amassed the kind of following that even the guitar gods she
grew up idolizing would be envious of, with a reach surpassing 3 million followers
across her social channels, built through a steady stream of sharing her talent via
guitar "shredleys", covers and her own original material.
In addition to her own content, Sophie's talent and popularity has led to
collaborations with brands such as Amazon Prime, Hard Rock Cafe, LiveNation
and Harley Davidson, her own Guitar course on Truefire and a stunning
performance at Paris Fashion Week for Redemption Brand Clothing.
She has also released her own signature guitar, becoming the first female artist to
do so for exclusive Californian Guitar maker KIESEL.
Most recently, Sophie could be seen shredding on stage as guitarist for multiplatinum recording artist Machine Gun Kelly on his recent Mainstream Sellout
World Tour, which included sold out shows at legendary venues such Madison
Square Garden in New York and Wembley Arena in London.

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

Vinyl re-issue of the 2017 album. Norwegian power trio Bokassa fuse riffs and grooves into a hook-laden Molotov Rocktail of punk, hardcore, metal, and rock. In 2019 they were handpicked by Lars Ulrich to support Metallica alongside Ghost on their summer stadium tour all over Europe, UK and Russia. The legendary drummer hailed them as "his favourite new band" and described them as "Insanely fucking cool" after hearing the trio's first album Divide & Conquer.

Divide & Conquer is Bokassas self-released debut full length. A noisy no comprimise of an album that made it onto Metal Hammer UK´s list over the best debut of 2017, was called one of the most important Norwegian albums of the 2010s by Gaffa, and of course attracted drummer Lars Ulrich who invited the ba

Rediscover all his first great songs that made the legend of the American songwriter on a nice picture disc vinyl. Including : "Talkin" New York", "Song to Woody"...

The Best of Kris Drever includes all the highlights of his acclaimed career to date including those made with Lau and Drever McCusker Woomble Limited Edition of 500 Black LP's. Featuring for the first time on vinyl format "Wintermoon" , hard to find / out of print classics "Ghosts", "Harvest Gypsies" and "The Poorest Company" alongside two brand new songs "Catterline" and "Punchbag". "The Best of" album features many incredible guest performances from over 17 years of recordings including: Boo Hewerdine, Eddi Reader, Kate Rusby, Ian Carr, Yola, Heidi Talbot, Norman Blake (Teenage Fanclub), Roddy Woomble (Idlewild), Louis Abbott (Admiral Fallow), Andy Cutting (Leveret), Euan Burton, Rachel Lightbody, Elysian Quartet, John McCusker, Tim O'Brien, Megan Henderson (Breabach), Eamonn Coyne and Joan As Police Woman. ' Completely infectious' BBC Music ***** ' Immense yet ultra- supple sophistication, musicianship of the first order ...a breath of fresh air' SONGLINES ' Guitarist with that bravely experimental trio Lau, Kris Drever has all the makings of a solo celebrity' THE GUARDIAN ' Sets the standard for others to follow - Kris Drever is a serious talent' MOJO

Repress!

Here's some revisions of early tracks which I started whilst living in Bristol, before moving to Berlin. You can clearly hear decades of the city's influence, mad to think you'd see DJ Die bouncing around Stokes Croft on the rego, or spot Daddy G picking up some fish at the local market on my walk into work each day. Such an inspiring city that's always on the move. Shouts to the 'diff don DJ Guy on the version.

INDUSTRIAS MEKANIKAS returns to the fray, and comes with force, with this new release from producer CUTE HEELS.

This Colombian producer and DJ based in Berlin, and who has published in labels like; Dark Entries, Moustache Records or Schrödinger’s Box, lands in the Madrid label to present us his latest work “Steel Field”, a 12″ of six tracks in mini LP format, where the producer shows us his darker side.

All his tracks converge in styles with a very marked influence of EBM and the most hypnotic Techno, along with the treatment of his vocals with distortion and delay effects, as well as lyrics with a very devastating message,

His new Mlp “Steel Field”, will make you travel from the beginning to the end, will take you to the darkest and murkiest worlds of electronica, will make you can not stop dancing, playing, thinking and moving between the sensations and the most recondite desires of your mind.

This release has a mythical status as it was only released on a white label back in the day and for the past 30 years it was assumed that the release was by Liquid Aliens. But now the internet has been set straight after all these years, these two tracks were actually created by DJ Phantasy himself, who had a habit of changing his catalogue numbers around on his label back in the day, possibly helping to fuel the rumour that they were made by Liquid Aliens.

Recorded at Jack Smooth’s studio with Alex release as the engineer, the original pressing has been going to crazy money on Discogs. But now is your chance to own a copy at a small fraction of the price.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve. Available on either red, white or blue 180g heavyweight vinyl.
LIMITED PRESSING.

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

Auf ihrem umfangreichen neuen Album "Water Made Us" stellt die Chicagoer Musikerin und Dichterin Jamila Woods die Frage, was es bedeutet, sich der Liebe voll und ganz hinzugeben. Auf "Water Made Us" umarmt Jamila neue Genres, verspielte Melodien und hypnotisierende Wortspiele, während sie durch die berauschenden Turbulenzen von Liebeswracks und Zuflucht watet. Während Jamila auf "HEAVN" (2017) ihre Community innerhalb der schwarzen feministischen Bewegung feierte und auf "Legacy! Legacy!" (2019) ihre Lebenserfahrungen durch die Geschichten schwarzer und brauner Künstlerinnen und Künstler verarbeitete, ist "Water Made Us" eine völlig neue Art der Selbstoffenbarung und damit ihr bisher persönlichstes Album. "Water Made Us", das sie zusammen mit dem in LA ansässigen Produzenten McClenney aufgenommen hat und auf dem langjährige Freunde aus Chicago wie Saba und Peter CottonTale zu hören sind, ist ein weitläufiges und intimes Porträt der Selbstreflexion, das geschickt die verschiedenen Phasen einer Beziehung widerspiegelt: Die Anfänge, in denen man leicht Kompromisse eingeht, kokettiert und Spaß hat; das vorsichtige Aushandeln von Momenten des Konflikts oder der Verletzung; die Trauer über etwas Verlorenes; und die zärtliche Erkenntnis am Ende von allem, dass die Person, die gegangen ist, einen nie wirklich verlässt, sondern bei einem bleibt, während man bereit ist, es noch einmal zu versuchen, erfrischt und beruhigt. Der Titel des Albums - eine Zeile aus dem Highlight des Albums "Good News" - ist eine subtile Anspielung auf das berühmte Toni-Morrison-Zitat "All water has a perfect memory and is forever trying to get back to where it was". Es ist dieses Gefühl - der Erinnerung, des Ortes und der Rückkehr - das als Pfeiler für den Bogen des Albums dient. "Water Made Us" erinnert uns daran, dass die Liebe im besten Fall ein warmer, stiller Ozean ist. Tief, schimmernd und endlos in seinem Wunder. Und im schlimmsten Fall kann die Liebe ein reißender Strom sein, der uns so weit von uns selbst entfernt, dass wir kaum den Weg zurückfinden, ja nicht einmal mehr wissen, wie wir schwimmen sollen. Und doch ergibt sich Jamila dieser Brandung - jeder Welle und jedem Sog - weil vielleicht sogar die schmerzhaftesten Enden eine Einladung sein können, die sie zurück nach Hause ruft, zurück ans Ufer, zurück zu sich selbst.

Auf ihrem umfangreichen neuen Album "Water Made Us" stellt die Chicagoer Musikerin und Dichterin Jamila Woods die Frage, was es bedeutet, sich der Liebe voll und ganz hinzugeben. Auf "Water Made Us" umarmt Jamila neue Genres, verspielte Melodien und hypnotisierende Wortspiele, während sie durch die berauschenden Turbulenzen von Liebeswracks und Zuflucht watet. Während Jamila auf "HEAVN" (2017) ihre Community innerhalb der schwarzen feministischen Bewegung feierte und auf "Legacy! Legacy!" (2019) ihre Lebenserfahrungen durch die Geschichten schwarzer und brauner Künstlerinnen und Künstler verarbeitete, ist "Water Made Us" eine völlig neue Art der Selbstoffenbarung und damit ihr bisher persönlichstes Album. "Water Made Us", das sie zusammen mit dem in LA ansässigen Produzenten McClenney aufgenommen hat und auf dem langjährige Freunde aus Chicago wie Saba und Peter CottonTale zu hören sind, ist ein weitläufiges und intimes Porträt der Selbstreflexion, das geschickt die verschiedenen Phasen einer Beziehung widerspiegelt: Die Anfänge, in denen man leicht Kompromisse eingeht, kokettiert und Spaß hat; das vorsichtige Aushandeln von Momenten des Konflikts oder der Verletzung; die Trauer über etwas Verlorenes; und die zärtliche Erkenntnis am Ende von allem, dass die Person, die gegangen ist, einen nie wirklich verlässt, sondern bei einem bleibt, während man bereit ist, es noch einmal zu versuchen, erfrischt und beruhigt. Der Titel des Albums - eine Zeile aus dem Highlight des Albums "Good News" - ist eine subtile Anspielung auf das berühmte Toni-Morrison-Zitat "All water has a perfect memory and is forever trying to get back to where it was". Es ist dieses Gefühl - der Erinnerung, des Ortes und der Rückkehr - das als Pfeiler für den Bogen des Albums dient. "Water Made Us" erinnert uns daran, dass die Liebe im besten Fall ein warmer, stiller Ozean ist. Tief, schimmernd und endlos in seinem Wunder. Und im schlimmsten Fall kann die Liebe ein reißender Strom sein, der uns so weit von uns selbst entfernt, dass wir kaum den Weg zurückfinden, ja nicht einmal mehr wissen, wie wir schwimmen sollen. Und doch ergibt sich Jamila dieser Brandung - jeder Welle und jedem Sog - weil vielleicht sogar die schmerzhaftesten Enden eine Einladung sein können, die sie zurück nach Hause ruft, zurück ans Ufer, zurück zu sich selbst.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

The follow-up album to the hugely successful I Do Not Want What I Haven't Got album, Am I Not Your Girl? was released in September 1992 and features Sinead performing a collection of songs that she had grown up listening to and which had inspired her to become a singer. It was during the promotional campaign for the album when Sinead made a controversial appearance on Saturday Night Live.

Am I Not Your Girl? features Sinead's unmistakable voice accompanied by an orchestra, performing big- band arrangements of tracks such as the single 'Success Has Made A Failure Of Our Home' (a Top 20 hit), 'Don't Cry For Me Argentina', and 'Why Don't You Do Right?'.

In celebration of the 25th Anniversary of this seminal album, Belle & Sebastian are releasing If You’re Feeling Sinister on coloured vinyl for the first time. Originally released on November 18th 1996, it will be available on transparent red vinyl through Jeepster on November 26th 2021 and included as part of the Black Friday sales event. The album is released on gatefold vinyl and is distributed by Republic of Music

The album was recorded in Glasgow at CaVa Studios in August 1996 over just 10 days and was the first album released by Jeepster. There were no singles released from the album which was a famous Belle & Sebastian trait of the time. In line with this, there were also no interviews given and promotion involved a three gig tour over London, Manchester and Glasgow.

For the recording of this album, the band consisted of the six original members but this time also included Sarah Martin as the seventh member in her debut for the band. This was the second album released by Belle & Sebastian and all songs were written by Stuart Murdoch. The session produced 11 songs of which 10 made it to the album and the other became the single ‘This Is Just A Modern Rock Song’. Although there were no videos made for any of the album tracks, Sarah Martin recorded a video for this eleventh track.

The album cover features Ciara MacLaverty, a great friend of Stuart’s, beside a copy of Franz Kafka’s ‘The Trial’. The inside cover features some members of the band with friends in their impression of The Last Supper.

Gatos Negros, aka Madrid DJs/ producers Christian C. & Iván Smoka, second album 'Hi Score' is a texture and abstraction gambling project now on sale via Vasco Ispirian's Made in Green Records label.
'Hi Score' sees the duo sailing ethereal ambient soundscapes, shady alt rock waves, experimental grooves almost horizontally danceable, acid electro-pop & avant-garde electronica- all in an utterly smart, consistent, and effective vocal fashion.

Die zweite LP des Duos und Internetphänomens THE FRENCH MADEMOISELLES aka Mademoiselle KT (Katia) und Mademoiselle L (Lexie) wurde mit Chansons von Annie Philippe, Jacqueline Taïeb, Katty Line und Liz Brady vervollständigt. Eine musikalische Momentaufnahme des Swingin' Paris für Liebhaber von süßem Pop und wilden Idioten. Lilafarbiges Vinyl.

Caution Alert ! The Brilliant Italian producer made in peruggia Simoncino is back on Skylax records again with a remix featuring the great Larry Heard aka Mr Fingers. You already know his ability to create sounds that are deeply imbued with the Chicago sound, you sometimes might think you 're hearing some lost gems from the great Armando. In short, no need to add more, this item is essential for any normally constitued dj. Pure Gold.

First Vinyl Release for 1994 Britpop outfit Salad, fronted by Dutch vocalist and former MTV VJ Marijne Van Der Vugt (vocals and keyboards). Originally released on Island records as a compilation made up of their early singles , b-sides and EP material.

Comes with an exclusive hand-signed insert from Marijne.

Paul Kennedy (Guitar, Vocals), Pete Brown (Bass) and Rob Wakeman (Drums).

Supported Blur back in 1993 where they rose to prominence after a couple of EP releases. This compilation takes the best of their early years material. A must have for fans of Brit-Pop, British Alternative Rock and 90’s Indie.

140g Black Vinyl with exclusive signed print.
Features the tracks ‘Diminished Clothes’, ‘Kent’ and ‘On A Leash’.

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

Beograd (Belgrade in Serbian) is a four-piece Serbian electronic band, formed in the capital of the former Yugoslavia in 1980. Influenced by bands such as Kraftwerk, Depeche Mode, Ultravox and Human League, it played a role pioneer on the Yugoslav synth-pop scene. Their first studio album, Remek Depo, was released in late 1982 on cassette and early 1983 on vinyl by public label PGP RTB. It was a huge media success, released at the time of the effervescence of Belgrade's alternative scene, a vibrant underground movement of avant-garde artists and musicians that included leading bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Electricni Orgazam, etc. Unfortunately, the band disbanded shortly after the album's release. The album contains politically provocative lyrics for the time. Produced by Saša Habić, it stands out for the quality of its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon and veteran jazz trumpeter Stjepko Gut - who contributed to its soulful side. , creating a unique combination of hot and cold.

10LP box set + 60 page book from the influential cult progressive rock collective.

Celebrating four classic years (1976-1980) of touring throughout USA, encompassing the full Gentle Giant live experience through never-before pressed vinyl, unseen memorabilia and photographs.

Die Musik von Arabrot ist zeitlos. Gerade wenn man glaubt, einen Einfluss oder Bezugspunkt ausgemacht zu haben, entzieht sie sich dem Zugriff, dreht und wendet sich in unerwartete Richtungen und formt einen Sound, der wirklich einzigartig ist. In den letzten zwei Jahrzehnten hat sich Arabrot durch mehrere Iterationen gewandelt; sie haben verschiedene Formen und Größen ausprobiert, verschiedene Stimmungen aufgenommen und die Außengrenzen verschiedener Genres erkundet und klangen dabei nie weniger als ganz sie selbst. 2023 erscheint ihr zehntes Album, Of Darkness and Light - ein Grund zum Feiern. Kjetil Nernes war der Kern und die Konstante von Arabrot, und seit einiger Zeit schlägt neben ihm ein weiteres Herz im perfekten Gleichklang. Karin Park, eine Partnerin im Leben, in der Liebe und in der Musik, trägt seit zehn Jahren in unterschiedlichem Maße zu Arabrot bei, und auf Of Darkness and Light ist ihre Präsenz sowohl gefestigt als auch verstärkt. Die beiden leben zusammen in einer Kirche in dem schwedischen Dorf, in dem Karin aufgewachsen ist, und haben sich ihr eigenes Reich geschaffen, in dem sie ihre Kinder, ihr Handwerk und ihre kreativen Visionen pflegen. Of Darkness and Light brauchte einige Zeit, um Gestalt anzunehmen. Der Lebenslauf von Produzent Alain Johannes liest sich wie ein Who's Who der Rockmusik. Er ist selbst ein versierter Musiker (er spielte mit PJ Harvey, Queens of the Stone Age und Them Crooked Vultures und hatte auch seine eigene Band Eleven) und verfügt über langjährige Erfahrung als Produzent. Es war seine Arbeit an Mark Lanegans Album Straight Songs of Sorrow aus dem Jahr 2020, die Kjetil auf ihn aufmerksam machte, bevor Kismet eingriff und die beiden zusammenbrachte. Alain erklärte, dass "mein Bauchgefühl immer richtig ist" und zog im August 2022 ins Djura Missionshus, auch bekannt als die Kirche von A°rabrot, um mit der Arbeit zu beginnen. Das Trio verbrachte mehrere Wochen damit, die Arbeit mit dem Familienleben zu verbinden und die Puzzleteile zusammenzusetzen, aus denen sich Of Darkness and Light zusammensetzt - ihr erstes Album, das komplett in der Kirche aufgenommen wurde. Das Ergebnis ist ein echtes Rockalbum - unter der elektrisierenden Fassade aus flirrenden Synthesizern und raffiniertem Glitzern schlägt ein schweres Rockherz. Die Worte werden dem unbändigen, konkupiszenten Verlangen kaum gerecht, das sich hinter ihrem Schlachtruf We Want Blood verbirgt - einem hymnischen, mit den Füßen stampfenden Vorstoß, der in der Mitte des Albums liegt. An anderer Stelle stehen düstere Mörderballaden neben feierlichen "Fuck Yeah"-Momenten der Freude; ihre reduzierte Herangehensweise an die Instrumentierung schmälert nicht den Reichtum ihres Sounds. Für Freunde von SWANS, KILLING JOKE, WOVENHAND, CHELSEA WOLFE, THE MELVINS, CAPTAIN BEEFHEART, NINE INCH NAILS Ltd Pink Single Colour LP (We Want Blood Edition), Gatefold Cover

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers.
Bene Gesserit is probably their most famous and iconic one due to its multiple facets.

Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band.
From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos :
Insane music without borders.

This reissue additionally includes four unreleased tracks from Alain Neffe vault.

Remastered by Krikor Kouchain and limited to 300 copies.

The Capitols were an American, Detroit, Michigan-based soul trio, widely known in 1966 for their Billboard hit single "Cool Jerk". After playing predominantly small gigs, they were discovered by former Ann Arbor radio DJ Ollie McLaughlin after performing at a local dance.

The mid-1960s saw many dance crazes; one of the most popular ones was a dance called "the jerk". Seeking to capitalize on the popularity of the dance, and dance songs in general, The Capitols member Donald Storball wrote the song "Cool Jerk", which was later recorded in Detroit with Motown house band The Funk Brothers. The single was released late March 1966 and became a hit, reaching number 7 on the Billboard Hot 100. Ever since, it has been used in many movie soundtracks, including More American Graffiti, Home Alone 2: Lost in New York, and Madagascar 3. The group released eight additional singles after "Cool Jerk".

So, let's crank up the stereo and Dance The Cool Jerk!

Dance The Cool Jerk is available as a limited edition of 750 individually numbered copies on red coloured vinyl.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!

Hjalte Ross neues Album "Less" erscheint im Oktober 2023 und zeigt sein bisher direktestes, verletzlichstes und ausdrucksstärkstes Songwriting. Selbst-produziert, minimalistisch, schön und tödlich - das ist das neue Album von Hjalte Ross. Bereits mit den beiden Alben, dem Debüt "Embody" (2018) und dem Nachfolger "Waves of Haste" (2020), etablierte der preisgekrönte junge Künstler seinen Namen sowohl in Dänemark als auch in der internationalen Songwriter-Szene. Auf die Platten folgten von der Kritik gefeierte Konzerte und große Aufmerksamkeit. KEXP, MOJO, Uncut, Clash Magazine, sind nur einige derer, die ihre Liebe zu dem dänischen Songwriter gezeigt haben. Wild und sanft ist der neue Hjalte Ross, der beschreibt, dass Less" eine Sammlung von Liedern für deine heilige Stunde ist, die sich mit deinen Gefühlen verbindet. Hjalte Ross stellt sein Album vor: "'Less' umfasst Songs, die in schwierigen und herausfordernden Zeiten entstanden sind, aber trotzdem geschrieben wurden. Less' enthält nicht nur ein bestimmtes Gefühl, sondern vielmehr eine Sammlung von Gefühlen, die alle unter das Thema der Unzulänglichkeit fallen." Ross legt seine innersten Gedanken offen und schafft so eine Atmosphäre gemeinsamer Intimität. Ross' künstlerische Reise wurde nicht allein unternommen. Die Zusammenarbeit mit seinen Musikerkollegen Mads Lang, Astrid Matthesen und Jonas Kardyb sowie das geschickte Händchen des Toningenieurs D. James Goodwin haben "Less" einen Reichtum verliehen, der in jeder Note nachhallt. Der Titel ist keine bloße Beschreibung, sondern ein Tor zum thematischen Kern des Albums. Ross erforscht die Komplexität von Emotionen und stellt die Vorstellung in Frage, dass diese Gefühle nur seine eigenen sind. "Less" ist eine Einladung zu einer gemeinsamen Erfahrung - Trauer, Hoffnung und Wachstum - die über das Individuum hinausgehen und uns als Menschen verbinden. In einer Welt, die oft das Spektakel schätzt, ist "Less" ein unaufdringlicher Triumph - ein Spiegelbild von Ross' Entschlossenheit, sich seiner eigenen Verletzlichkeit zu stellen und die Schönheit darin zu beleuchten. Dies ist "Less". Klappcover, rauer Karton, 140 gr klassisch schwarzes Vinyl mit 28seitigem 12"-Booklet!

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

Danny Davis knows the galvanizing power of an anthemic, hair-raising song. As the co-founding songwriter behind the long-running Oklahoma City indie rock outfit Husbands, he’s been meticulously crafting breezy and emotionally potent tunes about finding your place in the world. His writing always strives to break free from monotony and routine, aiming for meaning and clarity through massive choruses and colorful arrangements. Cuatro, Husbands’ adventurous and triumphant fourth album out Oct. 13 via Thirty Tigers, marks a turning point for Davis. It’s the first LP he’s released without his longtime bandmate, collaborator, and close friend Wil Norton. It’s also an album that Davis made during a time of relative personal stability after quitting his nine-to-five and moving with his wife to Costa Rica. Across 11 arena-filling and richly-produced tracks, the full-length is a document of his growth as a human being and a testament to finding peace in relationships evolving.

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.

"The Rude Sessions," recorded May 9, 1974, at Rude Sound Studios, Woodstock, NY.

Mailout to relevant music press and radio. Promotion across social media platforms. Advertising in Shindig & Record Collector.

The band who has become Sweden's most addictive rock'n'roll export is now rereleasing its fourth album Club Majesty in a special neon pink vinyl edition, on the occasion of its four year anniversary.

Plenty of people have tried to label the band. Garage rock, pop rock, kung-fu rock and even Chuck Norris rock are all tags that have been devised for Royal Republic's punchy, propulsive brand of rock'n'roll.

With their fourth album Club Majesty, 'disco rock' has been added to the mix. "I love the word 'disco'," singer Adam Grahn says. "But some people will say 'but you're a rock band!' We're a band. I never knew what to call us."

If you like Royal Republic, you'll love Club Majesty. And for the uninitiated - rock fan, pop lover, metal-head or otherwise - you've arrived at an excellent time. All are welcome here, so step inside...

The six members of The Howdies each bring a unique musical background that combines to create a singular sound. Their Athens, Ga home has long been an artistic haven for all genres of music and an open forum for shared expression.

The result is a place where outsiders flourish and the rules of musical tradition are often bent or even broken with a wink and a smile. Produced by David Barbe and T. Hardy Morris and recorded at Chase Park Transduction, only Athens could create a group like The Howdies and a record like Howdies All Around. A little bit loose, a little bit home made but over flowing with the love of friendship and the sheer joy of creating something new.

“Utilising phat grooves and electronic scrapings to bring noise rock kicking and screaming into the volatile 2020s, Thoughtless Cruelty is snotty and abrasive, fuelled by impotent rage.” JR Moores, The Quietus “A kind of mad melding of Pissed Jeans and Lady Gaga.”

Post-war musical history was written in Germany with the MPS label: noble music productions with many international greats come from the Black Forest and are timelessly legendary. Some treasures from the label's archive are released by HGBSBlue on highquality vinyl.

More than 20 top-class jazz musicians met in July 1965 for a jazz workshop at the Ruhr Festival in Recklinghausen and recorded a total of 17 pieces. Nine tracks from the live recording were to be released the same year as the first double LP on the young Villingen jazz label SABA (the forerunner of MPS). Everything was prepared for this, but it never happened.

It is not really clear why, because everything was technically ready for release.

With Hans Koller, Rolf Kühn, Leo Wright, Benny Bailey, Tubby Hayes, Ronnie Ross, Stuff Smith and others, many leading players of the jazz scene at the time were involved. However, the two music tapes were not pressed onto record and slumbered unheard for many years in the MPS archive in Villingen. In 2018, on the 50th anniversary of the MPS label, this was made up for: the double LP, which was to be released as "Junges Forum 65" by SABA, was released by HGBSBlue in a limited edition and is now also available here. The music of the workshop formation is still full of sparkling creativity today, almost 60 years after it was recorded.

You can hear first-class jazz on a bebop basis, which was played in Europe at that time by an immensely creative generation of musicians full of commitment. A listening pleasure for every jazz fan on the one hand, but also a wonderful documentation captured on this double LP.

Jan Erik Vold and Jan Garbarek, two of Norway's most prominent figures in jazz teamed up with
bassist Arild Andersen, drummer Jon Christensen, guitarist Terje Rypdal and Bobo Stenson on
keyboards and these two September days in 1970 and made a formidable jazz album. Two poems
from Violence ("Det alle vet" from the collection of poems Mor Godhjertas glade version. Ja (1968) and
"Dikt" from Kykelipi (1969)) and long tenacious instrumental parts.

Swapping BPM for GPM (Goosebumps per minute), Dusky’s Life Signs Vol.3 is made from the heart to nourish the soul. to a long-overdue journey to the uncharted territories of Planet Dusky. Completing their triptych for Running Back with four tracks, one of the UK’s most dependable duos shows once again how to connect fun with functionality and funk with efficiency. From the jacking rhythms of early Chicago to the emotive qualities of Detroit and the fever pitch aesthetics of the UK sounds of the 90s or the studies of the contemporary scene, it includes the right choice for each taste and need. Dusky, but not rusty.

'THE HARMONY CODEX - the seventh album by Steven Wilson - takes you on a trip. A genre-spanning collection that opens up like a musical puzzle box, it presents a series of endlessly beautiful vistas that roll out and shift in front of you.

Arguably the best album Wilson has made during a career that’s spanned more than three decades both as a band leader and as a solo artist, it represents the apotheosis of a life spent fully absorbed in music.

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.

2023 Repress

Best Record lights up a surefire classic from the annals of Italian dance music, made courtesy of Italo-Disco heavyweights Klein & MBO, who were not a company looking to get rich, but just 2 individuals: Tony Carrasco (USA), Mario Boncaldo (Italy), in one word... LEGENDARIES! with something burning inside to share. Italy certainly had a huge influence on the nascent Chicago house scene which embraced the best jams of Italo-Disco and created a movement of those simple yet complex sounds like those of "The MBO Theme", beautiful song, smooth and sweet, to give you time to think about some amazing dance moves and bring back very beautiful memories. The song was originally a hit created by the likes of Ron Hardy thanks to his punchy synth bass and captivating European vocals. So this was the first house song ever made and it's from the '80s, loved from the beginning by Derrick L. Carter, one of the pioneers of House Electronica in Chicago and Farley "Jackmaster" Funk, who broadcast on WBMX-FM of Chicago as a member of the DJ team Hot Mix 5. Pure Italo-Disco! Simple analog drum machine (sounds like a TR-606) and analog synthesizer, which in the case of Klein & MBO, is most likely a Sequential Circuits Pro-one. Italo's first purely minimal songs from the early 80s. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Record method, which also brought out a previously unreleased edit of the track called "Italian Version", which extends the club qualities of the jam to the maximum impact of the party.

2023 Repress

A fully remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like David Mancuso, Larry Levan and Ron Hardy. This special edition from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries: including the astounding Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

Espen Eriksen – piano Lars Tormod Jenset – bass Andreas Bye – drums Andy Sheppard – saxophone. The combination of Espen Eriksen Trio and UK saxophone giant Andy Sheppard is truly a match made in jazz heaven, and in the words of Andy: “I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016”. The common conclusion drawn in reviews of their first album Perfectly Unhappy five years ago was simply “more, please”, and now we are delighted to introduce As Good As It Gets, the quite brilliant follow-up. The two album titles aptly indicate a subtle change in mood, and it´s fair to say that the new album finds the trio slightly more lively and sunny in parts, still highly melodic and lyrical, often with a typically Nordic melancholic signature (check the Grieg nod in album closer Drifting Clouds). Eriksen is a master of catchy tunes and when Sheppard adds his inimitable playing to the trio´s minimalistic approach, magic is created. Espen Eriksen Trio was formed in 2007 and released their debut album in 2010. As Good As It Gets is their seventh album, all on Rune Grammofon. They have toured on four continents, becoming an increasingly popular concert attraction in several countries. Eriksen´s background is ranging from jazz to pop music and the church organ, while Jenset lived and worked as a musician in Copenhagen for seven years before relocating to Norway. Andreas Bye is one of Norway´s most requested drummers in jazz and pop and has played with Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, Nils Petter Molvær and many others. With a career spanning over four decades, working together with the likes of George Russell, Gil Evans, Carla Bley, Steve Swallow and numerous others, Andy Sheppard is truly one of Europe’s leading saxophonists. As a leader he has recorded for labels like Antilles, Verve, Blue Note and lately four albums for ECM.

Tube Alloys have made a type of record that is in short supply these days. A record that is untethered to prevailing musical trends, punk or otherwise, in either their native Los Angeles or further afield. It's in keeping with a tradition, sure, one pioneered by bands like Wire, Swell Maps and This Heat, who sought to combine the vitality of punk music with an omnivorous ear for the avant-garde. But Tube Alloys honour this tradition with their disinterest in nostalgia and their ability to cast an irreverent eye towards our present and - crucially - our future, rather than endlessly rehashing our past. In short, Tube Alloys are adventurous where many of their contemporaries are content to play it safe. In doing so they tick a lot of boxes for those with open minds and open ears, while simultaneously making sense of the innate contradictions found in any great work of art. Their songs are muscular without being boneheaded, clever without being nerdy. A dry Australian humour is barked with an American sense of self-assuredness. Songs end before you've had a chance to digest their brilliance, or they explode right when you think they've already peaked. And just when you think you're comfortably along for the ride, the songs disappear altogether, and the record's centrepiece abruptly takes shape as an oblique spoken riff on Time. And Time it is, for something a little different. Finally! If you are in need of refreshment, then look no further, you have found your Oasis!