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2022 Red Vinyl Repress

New Stay Up Forever

Back in stock !

Dope oldschool house goodness by Chicago legend Roy Davis Jr!

Friendsome Records is a fresh imprint born out of the historic parisian dance music scene. A label whose aim is to create a balanced platform across gender, race, age and background. Launching a label in 2022 isn’t easy but what a way to kick things off, with this beautiful three track E.P with the legendary ROY DAVIS JR....

"I'm really excited to be putting out some of my raw electronic house tracks with my Friendsome buddy's in Paris, These tracks I have been vibing to, finally have a goodhome..The EP is a reflection of my more analog vision that got me into house music in the first place so I brought out my classic MPC 60 with my Roland Tr 808,TB 303 & Moog to transcend what house feels like to me."

180gr limited eco-responsable yellow record (500 copies)

Wie ein Schneesturm unter einer Glaskugel Im Herbst 2003 erschien bei dem amerikanischen Indie-Label File 13 Records Martin Revs mittlerweile sechstes Soloalbum. Nachdem Rev bereits 2002 zusammen mit seinem musikalischen Partner Alan Vega und ihrem gemeinsamen Projekt Suicide mit dem Album "American Supreme" neue Wege beschritten hatte, setze sich diese Neuausrichtung auch in seinen Soloarbeiten fort. Klang das 2000er Werk "Strangeworld" noch wie ein aus der Zeit herausgelöstes, abstraktes Komposite aller musikalischen Einflusswelten Martin Revs, scheinen auf dem drei Jahre später veröffentlichten Album "To Live" auch kontemporäre Einflüsse hörbar zu werden. So kommen hier erstmals Gitarren-Samples zum Einsatz. "Der Sound von "To Live" war eigentlich einer, den ich schon seit ein paar Jahren live auf der Bühne benutzte. Die Inspiration kam nicht aus den 2000er Jahren, sondern wahrscheinlich aus einer viel früheren Zeit, obwohl ich nicht genau sagen könnte, woher. Es hängt auch mit der Rhythmus-Technologie zusammen, die ich verwendet habe." erinnert sich Rev. Die Anmutung dieses Sequence-gesteuerten und für die späten 1990er Jahre so typischen Industrial-Rocks scheint - zumindest für ein Rev-Album - ungewohnt und so fielen die Kritiken beim Erscheinen der Platte 2003 zunächst sehr gemischt aus. Wie bereits Anfang der 1970er Jahre als Suicide für ihren neuartigen Sound gleichermaßen gehasst und gefeiert wurden, polarisierte Rev mit seiner Musik auch 30 Jahre später noch immer. Doch auch wenn jene Tracks auf "To Live" weniger von Synthesizer-Drones und minimalistischen Keyboardfiguren geprägt sind als die vorherigen Platten, so sind dennoch alle Stücke des Albums getrieben von jener eigentümliche Formsprache, die Martin Revs Sound so prägnant und unverkennbar macht. Verhallte, sich überlagernden RhythmusSchleifen durchzogen von Revs sporadisch einsetzendem, zärtlich wie bedrohlichem Sprechgesang wachsen zu einem heftigen Schneesturm unter einer Glaskugel an, in dem verchromtes Glitzer und goldenes Konfetti wie wild durcheinander gewirbelt werden. Besonders beeindruckend ist dies auf dem Track "Gutter Rock" gelungen, das wie ein übersteuertes, hypnotisch betörendes Stück Lounge-Exotika anmutet. Und es ist speziell dieser Sound der Gegenpole zwischen harten Drummachine- und Gitarrensalven und dem Ungreifbaren von Revs Stimme, in dem mitunter auch jene Stimmung und Verunsicherung zu Beginn des neuen Jahrtausends zu hören ist, die insbesondere in eine Stadt wie Revs Heimat New York beherrschte, die erst zwei Jahre zuvor von den Ereignissen des 11. Septembers 2001 erschüttert wurde. So ist "To Live" ein widerspruchsvolles und schwer zu verdauendes Werk, das als vor allem als Kind seiner Zeit und Transition innerhalb Martins Revs Gesamtwerk einen ganz besonderen Platz einnimmt.

Originally released on Axis records. Moonlight Serenade Year 3036, the Third Empire of Human spans hundreds of star systems, only accessible by a faster-than-light spaceship. No other intelligent beings have ever been encountered, not until a light sail probe enters a human system carrying a dead alien. The probe is traced to the Ursea, an isolated star system in a thick dust cloud, and an expedition is dispatched. After a search that lasted thousands of years, humans stand on the verge of first contact with an alien race. The mission's objective: learn everything there is to know about the extraterrestrial intelligence. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

Bloodline was an American blues-rock band from New York City, New York. Formed in 1991, the group originally featured vocalist Aaron Hagar, lead guitarist “Smokin’ Joe” Bonamassa, rhythm guitarist Waylon Krieger, bassist Berry Oakley Jr., drummer Erin Davis and keyboardist Lou Segreti. After Hagar was fired due to creative differences, Oakley took over as lead vocalist and the group began recording demos for a planned studio album with producer Phil Ramone. Bloodline released their self-titled debut album in 1994, which was produced by Joe Hardy and features the singles “Stone Cold Hearted”, “Dixie Peach” and “Calling Me Back”. The band broke up shortly after the album’s touring cycle.

Bloodline is available on vinyl for the very first time and
includes an insert with lyrics.

During the worldwide pandemic, when many bands were setting up livestreams, the symphonic metal pioneers decided to go even further and presented the virtual reality show The Aftermath. This spectacular immersive, tech-driven event allowed them to perform in four different futuristic virtual worlds that interact with both the band and the music. The set included both old and new material, as they presented the single “Shed My Skin” for the first time during the live set and played a brand new version of “Forsaken”

The Aftermath EP features four live tracks from the virtual reality show, including the single “Forsaken (The Aftermath)” and “Shed My Skin” featuring Rudi Schwarzer and Christoph Wieczorek, both from the German post-hardcore band Annisokay.

The Aftermath EP is available as a limited edition of 3000 individually numbered copies on crystal clear coloured vinyl. Side B of this 12 inch contains a exclusive full colour print based on the show’s artwork.

Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

Hot off her 2022 GRAMMY win for Best Latin Jazz Album for 'Mirror
Mirror,' with Chick Corea and Chucho Valdes, superstar pianist, singer,
composer and arranger Eliane Elias returns to her Brazilian bossa nova
roots with 'Quietude'
A luscious collection showcasing her alluring vocals with her virtuosic
instrumental jazz and piano mastery, the recording features songs by such
legendary composers as Antonio Carlos Jobim, and Dorival Caymmi along with
Dori Caymmi, who joins her on vocals for the closing track of the recording.

Matte, textured lift-off lid box containing a remastered reissue of the Harvest album, a 7" single with outtakes, a 1971 unreleased BBC concert on LP & DVD, a DVD of the film Harvest Time, a 48-page hardbound book, a fold-out band poster, and a numbered lithograph. Harvest is housed in a Stoughton tip-on jacket which has a matte texture on the outside and a high-gloss finish on the inside. The left side pocket includes a replica of the original fold-out lyric sheet. BBC In Concert is housed in a matte Stoughton tip-on jacket. Harvest Outtakes is a small hole 7" issued in a shrink wrapped matte picture sleeve with top opening. Harvest Time DVD is housed in a printed card sleeve and comes with a two-sided insert. BBC In Concert DVD is housed in a printed card sleeve. 50th anniversary deluxe edition Original album (remastered) Three Harvest outtakes on 7" single (two unreleased versions) 1971 unreleased BBC concert on LP & DVD Harvest Time: 2-hour unreleased film from 1971 on DVD 48-page harbound book Numbered lithograph Poster

Cosmoba is a brand new Manchester based imprint from Kalcagni. Fresh from releasing his ‘Manners’ EP on Distrito 91, Kalcagni dishes up 4 slices of funk fuelled electro for this label debut.

Lead track ‘Lost In The System’ features retro stylings and gritty electro bass hooks. This is swiftly followed up by ‘Multislacking’, the result of a weekend spent twisting up a modular rig, with wonky bass squelches and 80s pads underpinned by slamming beats.On the flip side, ‘Culture Vulture’ introduces some heavy 303 workouts, before 'After The Fact’ rounds off the EP nicely, taking the acid vibe in a slightly darker direction with wonky reese synth fills and jacked up breaks.

On the cusp of their 30th year with British indie Warp Records, Plaid return with a joyous new studio album, Feorm Falorx. From their playful early releases in the late 80's until now, they have explored diverse musical styles and embraced new methods of synthesis whilst maintaining a musical thread that spins back through the early Hip Hop scene of their youth and beyond to the sounds of the late 60s and 70s that inspired it.

Plaid have toured extensively and collaborated widely over the years, writing for and performing with sonic researchers, percussion groups, solo artists and orchestras, most recently for the BBC Concert Orchestra. They have written for computer games and scored several feature films, one of which, Tekkon Kinkreet, was awarded the Japan Academy Prize for Animation of the Year.

This eleventh studio album finds our duo, Ed Handley and Andy Turner, recreating a recent performance at the Feorm Festival, an intergalactic festival held on the planet Falorx. In order to survive the Falorxian atmosphere they were converted into light so the traditional recording devices they'd taken on 'The Campbell' were not functional. Fortunately, having consulted Earth's Space Agency, it was deemed safe to recreate the performance back in their London studio. Extensive testing of the resulting recordings have established a level of thought contamination deemed, “perfectly acceptable.”

Feorm Falorx will be released Universally on 11-11-22

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

With UPGRADES, Fogata Sounds imprint nearly 20 years of collaboration between Troy Berkley & Krak in Dub. This opus follows half a dozen maxi 45's and 300 gigs across Europe, from the One Love Festival to the underground sound system nights. The vocalist and the producer skills take you on a journey into “Sound System” music, from Early Roots to Future Dance-Hall, oscillating between Dub and Jungle. Those styles appear like solar polaroids , bringing images to the minds of neophytes and music lovers. 12 effective and original tunes mixing analog instrumentals like in “Life pon the line” or “CrystalBall” to the uncompromising Stepper from « Roll Call ». Featuring the big tune « Matta » and to singles « Dub plate Dada » et « Sound and Power » feat Sr Wilson.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Remastered and Recut for 2022 by Lewis Hopkin at Stardelta Audio Mastering

Here are the 2 tracks from the 21 Album that are currently being championed by the beatseekers of the scene, such as Radio 1's Benji B and Eglo's Alexander Nut, Swamp 81's leader Loefah, 3024 boss MartynBen UFO, Scuba, Oneman and 2562. 'Dusk' shows Marcus' ability to create spacious downtempo soundworlds, and the acid-drenched 'TB or Not TB' is filled with analogue 303 stabs that give a nod back to his first love: the early sounds of Chicago and Detroit in the late 80s.

Repress!

We'd like to draw your attention to half Dutch, half Turkish combination Altin Gun, to be released on Bongo Joe records in the near future. Properly done psych funk that really does sound as though it's been made in 70's Turkey (no, really!)

Tony Williams gehört sicherlich zu den auch heute noch einzigartigen Schlagzeugern im Jazz, deren Wirken sogar Stilrichtungen nachhaltig beeinflusst haben und immer noch prägen. Im Alter von 16 holte ihn bereits der Saxophonisten Jackie McLean in seine Band nach New York. Mit McLean spielte er auch seine erste Plattenaufnahme ein. Bald darauf sorgte Williams im Alter von 17 Jahren bereits im zweiten Miles Davis Quintet für Furore. Knapp 20 Jahre später, am 30. und 31. Mai 1980, ging Tony Williams mit Tom Grant (Keyboards, Synthesizer, er kam auf Empfehlung von Jeff Lorber in diese Band) und Patrick O'Hearn (Bass, Synthesizer) in das Tonstudio Zuckerfabrik in Stuttgart/Germany. Dieses Studio war in den 70er und in den frühen Achtzigern in der ersten Ausprägung eine legendäre Adresse für Audio-Produktionen aller Art. Larry Coryell, Wolfgang Dauner, Stephane Grappeli, Elvin Jones, Martin Kolbe + Ralf Illenberger, Volker Kriegel, Alphonse Mouzon, John Scofield und das United Jazz+Rock Ensemble nahmen dort auf. Diese beispielhaft für noch sehr viele andere. Produziert hatten Tony Williams und Peter Schnyder im Tandem. Komponist aller Titel war Williams. Das Album wurde in nur zwei Tagen eingespielt und direkt dort im Studio gemixt. Dieses zeitlose Album kam damals in einer Auflage von 500 Stück, wurde seinerzeit kaum promotet und mag dem/der einen oder anderen daher verborgen geblieben sein. Umso schöner, dass es jetzt wieder lieferbar ist.

Clear Vinyl

"Monstas brings out our street and theatrical sides to a fiasco, combining Grime/Dub MC's and tunes to make a Soundtrack-like experience. The release also marks an end of a Trilogy - which allows us to wrap up our sonic architect skills, and to start from scratch, to dive deep in the unknown - audio and visually."
- TRAKA

Authentic original release track listing and artwork, issued for the first time on special transparent lime coloured vinyl.

The sleeve features CROWN T72907 wallpaper version of the original multiple variant release. Of the original 30+ designs, this was Ian’s and original designer Barney Bubbles favourite, who referred to this version as ‘The Clarence’.

»Hallway Waverider« is Mikko Singh’s second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analogue recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. “This record is like me telling my teenage self that I am OK,” says Singh. “Back then, I was recording my song ideas on cassette players but held the belief that music should be recorded in an expensive studio with expensive gear in order to be real.” As it turns out however, Singh had been right from the start, having come full circle as an established artist some twenty years later.

After exploring the affordances of vintage equipment for 2019’s »Cloud Formations« LP, Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for »Hallway Waverider«. By experimenting extensively with the machines’ unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs.

The title of the album refers to Singh’s halcyon days as a teenager spent listening to punk music and—in wintertime—skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. “It’s about things in life that are important to me; things that make me feel good and soothe the mind,” he explains. It comes as no surprise then that »Hallway Waverider« is also dedicated to a key figure in his life. “The album is an ode to my mother who passed away in 2015,” says the artist. “She made it possible for me to have a good childhood and to be able to do what I love.”

This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight,” expressing a calm that perfectly mirrors the music’s steady grooves and welcoming overall feeling. Starting with the upbeat »River Park/ Sleeping Pill«; to the almost ambient, synthesizer-heavy »A Bottomless Pit«; or short, punk-inspired and bassline-driven outbursts like »Watered Down« or »Halulu Lake«; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. They are connected by that rare thing: a unique musical vision expressed by an instantly recognisable sonic signature.

Nice Girl is back with 4 Tracks sitting somewhere between chillout, club & experimental. Fans will already know about her unique approach to sound, always surprising & fresh very hard to categorize. Although the 4 tracks can very much be viewed as an extension of her debut album „Ipsum“, the overall tone of the EP is somewhat brighter with more light, at times almost euphoric! Glad to be sharing these, hope you enjoy!

MEILENSTEIN DES ETHNO-BEAT

Jahrzehnte weltweiter Konzerte, 30 Alben und abermillionen Streams haben den Dissidenten ein wunderbares Publikum auf dem ganzen Planeten beschert. Die „New York Times“ sah sie schon in den Achtziger Jahren als Vorreiter dessen, was später zum Begriff „World Music“ werden sollte.

Fast 40 Jahre nach der Erstveröffentlichung erlebt ihr legendäres Album Sahara Elektrik remastered auf Vinyl eine ungeahnte Wiedergeburt und vermittelt hautnah den musikalischen Aufbruch jener Jahre.

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.

The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.

Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.


Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

70 or so minutes of boogie funk from Germany, recorded live at the band's peak in their hometown Saarbrücken in 1987. Never heard before songs, now remastered. Limited to 100 copies.

During their short but intensive almost four years of existence Citro played about 50 shows and composed 32 songs that got performed live. This cassette holds 14 songs that draw a broader picture and captures their energetic and playful performance on stage. A band in great harmony that had developed its own sound.

This time capsule is the perfect addition to Citro's extended Smile EP reissue on funkscapes a few months ago. Encore!

Originally recorded to cassette at Jugendzentrum Saarbrücken, 30 April 1987.

Bettina Kümmel - lead & backing vocals, keyboard
Volker Schmidt-Hildebrandt - lead & backing vocals, guitar
Willy Walinsky - keyboard, backing vocals
Andy “Lemon“ Meyer (1963-2004) - bass
Kurt Landry - drums
Ralf Schmidt - live engineering

Earwiggle returns with a new 11-track (2x12") compilation for its 30th release, featuring The Mover, Heidi Sabertooth, Kerrie, Surit, Arjun Vagale, Pyran, Keepsakes, Ingen, Slave To Society, Duran Duran Duran and Dublin Terror Squad. Conceived during the pandemic, "Music For The Wilted Generation" is a tense exploration through dark minimal, industrial and club techno sounds, that culminates with some of the fiercest material to appear on the label yet.

Last 30 copies in stock now. The album is now in the Scottish album of the year shortlist. LP on very Limited HILL FOG CLEAR vinyl. Co-produced by Stephen McAll and Shimmy-Disc founder Kramer. First pressing on “Hill Fog” Colored Clear Vinyl, limited to 500. RIYL: Mazzy Star, The National, Will Oldham / Bonnie “Prince” Billy, Nick Drake. Constant Follower’s debut album "Neither Is, Nor Ever Was" was borne out of a respect for change, and the inevitable passing of time that frightens, comforts and humbles every one of us at once. It is a haunting testimonial to the temporary joys and fleeting moments that define the human experience no matter the individual passages it takes. The name of the outfit itself is a reflection of those things that we carry through life, for better or worse, that ultimately make us who we are. The current band consists of Stephen McAll (vocals, acoustic guitar, electric guitar, synth, bass), Andrew Pankhurst (electric guitar), Amy Campbell (backing vocals and synth), and McAll’s partner Kessi Stosch (backing vocals, synth and bass). "Neither Is, Nor Ever Was" co-produced by Scottish singer-songwriter Stephen McAll and the legendary record producer Kramer. The recording for the album began in early 2020 at La Chunky studios in Glasgow with engineer Johnny Smillie. This was interrupted by the birth of McAll’s daughter. If you listen closely, her cries are just audible during some of Kessi’s backing vocals, and shortly afterwards by Covid 19 restrictions. McAll began recording the rest at his own CFFC studio in Stirling. The recording was then beautifully mixed by Kramer. Once the LP was complete Kramer also did the final mastering. The videos for the release are truly short films that have been submitted to film festivals. They are enchanting, ethereal and immersive, the band’s visuals are as moving and cinematic as their sound. Martin J Pickering, who is renowned for his work with Dua Lipa, Paloma Faith and Lethal Bizzle, is behind their latest music video for “Set Aside Some Time”. The result - intense pangs of emotion interspersed with moments of reflection and acceptance, an ephemeral ode to the passing of time. Tracks: Side A 1. I Can’t Wake You 2. The Merry Dancers On TV 3. Set Aside Some Time 4. Spirits In The Roof Tree 5. Altona Side B 6. Weave of the World 7. One Word Away 8. Little Marble 9. What’s Left To Say 10. WEICHA

For fans this is the perfect genesis of a globally acclaimed guitarist and songwriter. A blend of youthful enthusiasm and innocence that never quite resurfaced again in his work, especially as he developed his jazz-folk fusion and became known for both immense skill on the guitar and his activism in support of social causes. Fans know this album as Bruce Cockburn's happy-go-lucky years, before the weight of his success encouraged him to use his songwriting for a purpose, never again having this much whimsy in the studio. The opening number, "Going to the Country," evokes the era's hippie back- to- the- earth movement, and as all good things come back around again, is just as fresh in today's enviro-movements. His hit song "Musical Friends" remains a fan favorite to this day.

Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning 50 years, of which 23 have received gold or platinum certification. He has sold more than nine-million copies worldwide, is a member of the Canadian Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30 nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".