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Im Dezember 2021 veröffentlichte Alicia Keys ihr neues Album »Keys«, zunächst digital. 2022 dürfen wir uns nun über das physische Release des Longplayers auf Doppel-Vinyl freuen.

»Keys« ist bereits das achte Studioalbum der amerikanischen Sängerin, Songwriterin und R’n’B-Ikone, der Nachfolger von »Alicia« aus dem Jahr 2020.

Das Doppelalbum umfasst 26 Tracks und besteht aus zwei Teilen, einem Piano-Album mit dem Titel »Original« und einem Bonusalbum namens »Unlocked«, das sich zwischen Hip-Hop, R’n’B und EDM bewegt. Zehn der Titel findet man auf beiden CDs und demnach in unterschiedlichen Versionen, neben sechs weiteren Songs.

»Die Originals kommen von der klassischen Seite von mir! Es ist die AK, die wir wollen! Eine Heimkehr. Auf der Unlocked-Seite wollte ich die Originale sampeln, um ein ganz anderes Klangerlebnis zu schaffen«, so die Sängerin. Das ihr das gelungen ist, machte sie bereits mit den Singles »Lala (Unlocked)« und »Best Of Me« klar.

Auf ihrem neuen Album »Keys« war Alicia Keys als Produzentin und Songwriterin an allen Songs beteiligt. Unterstützt wurde sie allerdings von Kollegen wie Mike Will Made It, Sia, Raphael Saadiq oder Natalie Hemby. Außerdem lud sich die Sängerin ein paar Duettpartner ein. Auf beiden Albumteilen warten Gäste wie die Sänger und Rapper Khalid, Lil Wayne, Pusha T, Swae Lee, die Country-Sängerin Brandi Carlile und der britische Sänger und Komponist Jacob Collier.

Alicia Keys gehört zweifelsohne zu den größten R’n’B-Sängerinnen der Welt. 2001 veröffentlichte sie ihr Debütalbum »Songs In A Mirror«, das es auf Platz eins der US-Charts schaffte. Von sechs weiteren Alben erreichten drei ebenfalls Platz eins in den USA. Im Laufe ihrer Karriere verkaufte die Sängerin und Songwriterin weltweit mehr als 30 Millionen Tonträger. Zudem gewann sie zahlreiche Preise, darunter bislang 15 Grammys.

pink vinyl

Sciama's debut 12" for Auxiliary comes after four hugely successful cassette album releases over the past few years. Myriad collates four impressive beat-heavy tracks from Michael, spanning multiple genres and tempos.

Forced Inward starts proceedings by setting an ominous tone, before erupting into bass tones and soft percussive kicks. The beauty is revealed once the melodies take centre stage. Observe takes things on a more schizoid trip, with its anxious percussion and moody synth tones swelling against the frenetic pulsing kicks. The Lost Pleiad sees Sciama back in contemplative nature, while steadily raising the tempo and energy before Indignation seals off the EP with more brooding textural synth and bass-stabs.

Myriad is an EP you will not want to miss, and ticks all the boxes for what Auxiliary is about as a label.

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

15TH ANNIVERSARY LIMITED EDITION

When we started our family group, The Staple Singers, we started out mostly singing in churches in the south. Pops saw Dr. Martin Luther King speak in 1963 and from there we started to broaden our musical vision beyond just gospel songs. Pops told us, "I like this man. I like his message. and if he can preach it, we can sing it" So we started to write "Freedom Songs," like "Why Am I Treated So Bad," "When Will We Be Paid For The Work We've Done," "Long Walk To DC," and many others. Like many in the civil rights movement, we drew on the spirituality and the strength from the church to help gain social justice and try to achieve equal rights. We became a major voice for the civil rights movement and hopefully helped to make a difference in this country. It was a difficult and dangerous time (in 1965 we spent a night in jail in West Memphis, Arkansas and I wondered if we'd ever make it out alive) but we felt we needed to stand up and be heard. So for us, and for many in the civil rights movement, we looked to the church for inner strength and to help make positive changes. And that seems to be missing today. Here it is, 2007, and there are still so many problems and social injustices in the world. Well, I tell you we need a change now more than ever, and I'm turning to the church again for strength. With this record, I hope to get across the same feeling, the same spirit and the same message as we did with the Staple Singers and to hopefully continue to make positive changes. We've got to keep pushing to make the world a better place. Things are better but we're not where we need to be and we'll never turn back. 99 and 1/2 just won't do! - Mavis

There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust.

Im Frühjahr erschien das Kracher-Album „Monster Mind Consuming“ welches mit den Ohrwürmern „Ori Ori“ und „Heathens“ zu einem Meilenstein der Bandhistorie wurde. Nur knapp ein halbes Jahr später legten die Außnahmekünstler mit der „Nightcall EP“ nach.

Am 12.08.2022 entfesseln sie mit ihrem brandneuen Album „Kreatura“ die nächste musikalische Bestie, die bereit ist, die Charts und die großen Bühnen zu stürmen.

Wenn man das Album „Kreatura“ hört, weiß man sofort, das ist MANNTRA! Die Kombination aus brachialen Metal-Riffs, harten Industrialsounds und traditionellen Folkinstrumenten beherrscht die Band, wie keine Zweite – denn es gibt keine. MANNTRA sind einzigartig!

„Kreatura“ ist das dritte Album der Kroaten, auf dem sie sich (vorwiegend) der englischen Sprache bedienen.
Musikalisch hält die Scheibe einige Überraschungen bereit. Starke Chöre verleihen den Songs eine ungeahnte Kraft und Dramatik, während die markante Stimme von Mastermind Marko M. Sekul die Geschichten der Songs so erzählt, als würdest Du sie erleben. Geheimnisvoll, mystisch und schaurig.

Auf ihrem neuen Album zeigen die vier Musiker wieder eine ganz neue Facette ihres Könnens. Zum ersten Mal sind auf dem Album drei Songs mit zum Teil deutschen Texten zu hören. Gekonnt spielen MANNTRA mit verschiedenen Sprachen und setzen diese perfekt zu der Story des jeweiligen Songs ein.

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

Blue Marbled Vinyl

Lauv, auf dessen Visitenkarte ganz oben Sänger/Songwriter/Producer/Multiinstrumentalist (und auch „Platin-Abräumer“) stehen müsste, begreift sich in erster Linie als Geschichtenerzähler. Denn es sind vertonte Geschichten, die ihm eine riesige Fangemeinde in der ganzen Welt beschert haben – magische
Anekdoten aus seinem direkten Umfeld, die er regelmäßig in eingängige Hymnen für seine Generation zu verwandeln weiß. Nachdem ihm schon sein erstes Album mit „I Like Me Better“ einen astreinen Welthit bescherte, beginnt nun das nächste Kapitel – das noch aufregender, noch umwerfender klingt, auch weil sein Storytelling noch ausgefeilter ist: All 4 Nothing. Auf „All 4 Nothing“ (erscheint am 05.08.2022) entwickelt Lauv seinen Trademark-Sound weiter, indem er noch mehr von sich preisgibt, sich noch mehr
öffnet: Er habe sich auf das Erzählen von Geschichten konzentriert, sagt der Kalifornier über die neuesten immersiven Songwelten aus seiner Feder. Inhaltlich geht es um Nostalgie, persönliche Konflikte, schließlich auch um Selbstermächtigung.

Clear Vinyl
Dominique Lawalree (b. 1954) is a composer born and based in Brussels. 'First Meeting is Lawalree's first archival release to date. Culled from four different albums originally self-published on his private label Editions Walrus, circa 1978-1982, this compilation highlights the composer's unique sense of ambient and minimal composition. Originally considered for release on Brian Eno's Obscure Records, Lawalree's music is now no longer hidden.

In this collection the listener finds the sounds of piano, synthesizers, percussion, wurlitzer, organ, and voice, all performed by Lawalree. Using these tools Dominique creates miniature themes that gallop across the speakers in slow motion, stretching our normal sense of dynamics and color, effortlessly widening the stereo plane. On "Musique Satieerique," Dominique pays homage to the influence of Satie with simple repeated piano figures and a lush field of organs and flutes. And on other selections, like "Le Maison Des 5 Elements," he takes a more wistful, ambient approach, layering keyboard lines, and invoking found/tape sounds to create a hypnogogic world of his own. Childlike in its playfulness and surreal to the bone, the music spins like a carrousel placed inside the Rothko Chapel. Lawalree's sense of timbre, tone, and overarching composition is like an impression of a home movie whose charm lies in its knowledge of intimacy, shared by few.' An incantation of innocence.

"a quiet, understated music that is both touching and elegant" - Gavin Bryars

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

Marc Romboy presents his upcoming album "Voyage de la planète' his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.


The first impression of this new sound can be heard on album opener forerunner 10" "Monde futuriste" (February 17th 2017) which blends together beautiful strings and soft flittering synths. "Jules Verne" named after the French science fiction writer, combines echoing arpeggios and a subtle woodwind harmony to create a cosmic soundscape. Whilst "Atome de danse", "Symphonie oblique" and "La machine du temps" use elegant strings to further enhance an unearthly effect, title track "Voyage de la planète" mixes the two mediums together with fluttering synths and somber strings before "La lune et l'étolie" builds introduces the bustling sound of the piano to create an upbeat melody.


Whilst there is a strong classical influence, there are tracks on the album that reference Marc's electronic background. This can be heard in

"L'univers étrange", which has an ambient sound, whilst pitched-down chords take "L'universe parallèle" to a dark and moody space.
"Phénix" is a bass-driven track, layered with crashing synths, taking the journey to a high before the celestial experience draws to a close on an uplifting note with "Nocturne" a laid-back soothing track that exudes optimism and wonderment.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, "Voyage de la planète' signifies the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.

Mikael Åkerfeldt, mastermind of Swedish band Opeth, has recorded the original score for the new Netflix series Clark, directed by renowned film-maker Jonas Åkerlund. Clark is the incredible story behind Sweden’s most notorious gangster Clark Olofsson, whose infamous crimes gave rise to the term “Stockholm syndrome.” The score for this 6-part series will be released as a Standard CD Jewelcase & Gatefold 180g 2LP vinyl via InsideOutMusic/Milan Records.

Jason Mraz - amerikanischer Gitarrist, Sänger und
Songwriter - hat sich mit seinem entspannten,
melodischen Pop, der stilistisch an Folk, Jam-Band-Musik,
Hip-Hop und Softrock angelehnt ist, eine große
Fangemeinde erspielt. Seit der Veröffentlichung seines
2002 erschienenen Debütalbums Waiting for My Rocket to
Come wurde Mraz mit mehreren Grammy Awards
ausgezeichnet und erhielt Platin- und
Multi-Platin-Zertifizierungen in über 20 Ländern, während
er durch Nordamerika, Südamerika, Europa, Asien,
Australien, den Nahen Osten und Teile Afrikas tourte.
Sein WMG-Katalog hat bis heute über 7 Milliarden
Streams und über 12 Millionen Album-Äquivalente
generiert.

Jasons zweites Studioalbum Mr. A-Z, das ursprünglich
2005 veröffentlicht wurde, war ein Grammy®-nominiertes,
U.S. Top Five (Billboard Top 200), RIAA Gold-zertifiziertes
Album, das die Hit-Single "Wordplay" enthielt, den zweiten
Einstieg des Künstlers in die Billboard Hot 100 Chart.

Mr. A-Z wurde noch nie auf Vinyl gepresst und die
Veröffentlichung am 22. Juli fällt mit dem 17-jährigen
Jubiläum des Albums (26. Juli) zusammen. Die Doppel-LP
enthält vier bisher unveröffentlichte Instrumentals von
Songs aus dem Standard-Album.













[m] d1. Life Is Wonderful (Instrumental) [4:20]
[n] d2. Geek in the Pink (Instrumental - Lillywhite Mix) [3:55]
[o] d3. Bella Luna (Instrumental) [5:02]
[p] d4. Song for a Friend (Instrumental) [8:08]

Jason Mraz – American guitarist, singer and songwriter – has cultivated a large following with his laid-back, melodic pop that stylistically nods towards folk, jam band music, hip-hop and soft rock. Since the release of his 2002 debut studio album, Waiting for My Rocket to Come, Mraz has won multiple Grammy Awards and earned Platinum and Multi-Platinum certifications in over 20 countries, while touring North America, South America, Europe, Asia, Australia, the Middle East and parts of Africa. His WMG catalog has generated over 7B streams and over 12M album equivalents to date.

Jason’s second studio album, Mr. A-Z, originally released in 2005, was a Grammy®-nominated, U.S. Top Five (Billboard Top 200), RIAA gold-certified album that featured the hit single “Wordplay,” the artist’s second entry on the Billboard Hot 100 chart.

Mr. A-Z has never before been pressed on vinyl and this 22 July release will align with the record’s 17th anniversary (26 July). The double LP includes four previously unreleased instrumentals of songs from the standard album.















[m] D1. Life Is Wonderful (Instrumental) [4:20]
[n] D2. Geek in the Pink (Instrumental – Lillywhite Mix) [3:55]
[o] D3. Bella Luna (Instrumental) [5:02]
[p] D4. Song for a Friend (Instrumental) [8:08]

How to Grow a Sunflower Underwater is the follow-up to Alex The
Astronaut's ARIA Music Award-nominated debut, The Theory Of
Absolutely Nothing
An unforgettably original lyricist, the music of Australian singer/songwriter Alex
the Astronaut cycles through a series of radiantly detailed slices of life. Alex
documents moments of both the seemingly mundane from a haircut, a therapy
session, a trip to the beach and to the supermarket to then utterly life-changing
experiences as a care giver along with the PTSD that followed and her recent
diagnosis with autism.
The 26- year- old artist imbues her songs with equal parts self- awareness and
sensitivity, imagination and idiosyncratic humor and in its intimate exploration of
post- traumatic growth, the result is a body of work affirming Alex as a truly
essential songwriter, capable of transforming the way we view ourselves and the
world around us..

Depeche Mode have released their much anticipated new single Where's The Revolution' today. A powerful and timely track, the song vibrates with a drum laden, menacing energy, anchored in frontman Dave Gahan's vocals demanding, Where's The Revolution / Come on people you're letting me down.'

Seriously dope downtempo soul track with beats from a Swedish secret weapon and sultry vocals from COCO ROUZIER (an up and coming jazz swinger from DC) b/w the more uptempo, feel good 60s styled "REACHING OUT TO YOU". Two gems that shouldn't be missed. Hand stamped 7" single from HOMEGROWN.

Für ihr zweites Album 'TORSCHLUSSPANIK!' wählte die Liverpooler Psychedelia-Band The Fernweh einen schlankeren, direkteren Ansatz für das Songwriting. Statt Eindrücke oder Abstraktionen zu malen, werden Botschaft und Songs in kräftigen, primären Farben schnell auf den Punkt gebracht. 'TORSCHLUSSPANIK!' bringt Frustration und Verwirrung über den Zustand der Dinge zum Ausdruck, bekräftigt aber auch seinen Glauben an die reiche und komplizierte Erfahrung der Menschheit.

Provogue / Mascot Label Group announce this special vinyl reissue of
blues-titan Joe Bonamassa's back catalogue
'Blues Deluxe' is one of the most popular releases of Joe Bonamassa and this
new re-issue has been expanded to 2 discs to ensure optimal audio quality.
Blues Deluxe is the third studio album by Joe Bonamassa and originally released
on August 26, 2003. Recorded at Unique Recording Studios in New York City, it
was produced by Bob Held and features nine cover versions of songs by classic
blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson,
Elmore James and more. The album is completed with three original tracks,
including the fan favorite Woke Up Dreaming.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

The second part in a collection of stunning Persian-tuned piano pieces, cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965.

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry & song.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.









i 09: Improvisation & Avaz in Isfahan (Golha-ye Rangarang #254) feat. Marzieh




feat. Abdolvahab Shahidi

Naomi Alligator is fed up. She’s sick of trying to make relationships work that have already run their course, and tired of sitting in a wintry apartment waiting for her life to kick into gear. On »Double Knot«, the modern folk singer/songwriter from Virginia attempts to unwind her life from all that is holding her back. In a way, it’s a coming-of-age record about shedding what no longer serves you and, ultimately, finding something like deliverance.

On the opening track, “Seasick,” Naomi Alligator is already in the midst of a sort of awakening. Right off the bat, she sings, “I don’t know what’s happened to me / It’s like I turned 16 / It’s like I grew to be 6-feet tall.” This is the announcement of a wide-eyed artist coming out of hibernation and into their own. Still, Naomi’s vocals ache with guilt and longing, belying the track’s playful catchiness. Longing for what? Maybe attention from a crush, but mostly a sunnier place to call home.

Naomi Alligator began writing Double Knot while living in Philadelphia during the height of the pandemic and the deterioration of a longterm romance. “I scream: How’d the hell I end up here? / I’m 1-inch tall, it’s crystal clear,” she chants on “Neighborhood Freak,” returning to height and size as an emotional barometer. When asked though, Naomi rejects the notion that Double Knot is a breakup album, or autobiographical at all. Moreso, she says, it’s a personal reckoning in which, “the minute before you make a big decision, you tally up the reasons why you don’t want to do what you’re doing anymore.”

That desire to turn the page expands to the production of the album as well. Naomi Alligator generally houses her narratives in beds of minimal, home-tracked instrumentation—influenced by the stripped-down poeticism of Joan Baez and Liz Phair’s Girly-Sound tapes. Double Knot finds Naomi continuing to hone the winning combination of guitar and banjo she established on 2021’s Concession Stand Girl EP. For Double Knot though, Naomi wanted a fuller, more dynamic sound: more instruments, more harmonies, more layering, more, more, more. Inspired by the impressionistic melodies of Animal Collective and MGMT, Naomi peppers in computer-generated synths throughout the album, most notably on the song “Burn Out.” These electronic flourishes augment the more grounding string instruments, arriving somewhere more ethereal than Naomi’s earlier work while still maintaining her warm songwriting.

If anything, Double Knot is a reminder that you can always pack up your bags, try something new, and change your life. As for Naomi Alligator herself? She moved west, to California.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

Blue Marbled Vinyl

2003 gegründet, gehört das Trio zur festen Institution der Extreme Metal Szene. Und immer gilt: so brutal wie möglich; so gnadenlos hart wie nur möglich. Das neue 12 Song Album "Mountain Fleshriders" bietet alles was brutalen Death Metal ausmacht.

"Emotional Rescue continues its 10th anniversary by again presenting Jorge Reyes’ collaborative album with Antonio Zepeda – a masterpiece and therefore, worthy of the time and effort to share.

From cult artist to becoming an essential musical discovery, Jorge Reyes is an example that no one discovered or owns the music beyond the writer and creator.

Growing up in Mexico’s 2nd City, he spent much of his life dedicated to travelling and learning music traditions and instruments. While at University to study Flute, he was involved in several influential bands of the era before going on to travel the world to further his learning, before returning to found the seminal Chac Mool group.

By the early 80s he went solo, exploring an increasing interest in the use of Prehispanic instruments mixed with electronics. In the opening songs, I-Cana and A La Izquiedra Del Colibri, the interplay between flute, guitar and vocals with TR-700, Poly 800 and DX7, all fuse his vision perfectly.

The additional contribution of Antonio Zepeda’s percussion creates a timeless mystique to the album, taking you on a journey deep in the mind of one of Mexico’s most important experimental artists.

Passing away at just 56, Jorge Reyes work was cut short, however he has left over a dozen albums to be explored. While critics increasingly question the valedictory of reissues, the premise on whether something should be heard is if it’s good. Therefore, let A La Izquierda Del Colibri be heard."

In their first outing since They Can't Be Saved, released on Skam in 2020, they enlist British rapper King Kashmere, who features on two tracks. Where James Ruskin has appeared
on Tresor Records for his seminal albums Point 2, Into Submission, The Dash and his recent Siklikal EP, the only appearance of Mark Broom on the label is a 2002 remix of
The Golden Apple by Eddie “Flashin” Fowlkes.

The duo unveiled this new work and collaboration with King Kashmere in a live show for a 30th Anniversary event for
Tresor Berlin televised on Arte, performing amidst a battery of lights and fogged-up refraction. It demonstrated their
rough-hewn fundamentals, roving melodies and investigative power, newly advanced by voice.

Death Switch is the first appearance by King Kashmere, savaging questions on segregation and suering, encoding
into our brains the much-repeated refrain - “You wanna know, why they wanna flip the death switch“. Spinning Globe
captures Kashmere in a gritty flow over a swaggering beat, bouncing and resonant. This unsanded voice lends an
enhanced texture and tension to the highly-processed sonic palette of Broom and Ruskin, accumulating with innate mettle.

Elsewhere, Appi dredges depths as widescreen beats lurk, digital artefacts pave the way to a hauntingly melancholic
coda. Lacovset features singer Ella Fleur who has worked with Mark Broom on his solo release Fünfzig. It enacts a
pointillist gated vocal alongside dolphin-like percussive communications. On LFIVE, the duo embalms their sonic textures with digital eects that flutter austerely with
syncopation in the crosswind of a beat that recalibrates at points.

An urgency slowly draws in on title track Slinky through fizzing electronics and fractured drums all corroded. Eem
locates a semblance of euphoria, with a tranceinducing release led by swirling arpeggios. Closer KZAP finds
the calmest moment on the record, with its wafting, nebulous synths and swamped hip hop beat.

Slinky finds an ever-evolving project, The Fear Ratio shapeshifting by bringing in the voice into their work and
continually pushing with their incredibly-eected rhythmic styles and peculiar, wandering synthesis.

"Catch me in the corner not speakin'/Crushed out heavenly/ U.G. rock the sweet daddy long fox minks/Chicken and broccoli, Wally's look stink"

Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like Daytona 500 featuring Raekwon and Cappadonna to soulful emotionally moving cuts like All That I Got Is You with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both ‘Blue & Cream’ and ‘Chicken & Broccoli’ half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a ‘shoebox’-style 2nd outer jacket embossed with the year 1996.

The only album by Austrian trio Cultural Noise is a an electronic marvel. Band members were Gerhard Lisy, Walter Heinisch and Karl Kronfeld, and instruments used included an ARP Sequencer, an ARP 2600, a VCS 3, an EMS Digital Sequencer, a Mellotron M400, a Micro Moog, a Roland Studiosystem 700, a Roland Analogue Sequenzer and an electric guitar. With these weapons and a strong influence from the Berlin school Cultural Noise created a rich electronic tapestry which expanded through the two pieces of this record, one per side, being compared by reviewers to works by Zanov or Anna Själv Tredge. Mentions of Tangerine Dream are also present on reviews, although Cultural Noise have a pretty unique personality on their own and besides sharing the use of Mellotron, sequencers and analog synths we have a totally personal concept here which sets them aside from all TD impersonators of the era.



The album was originally released in 1980 on CBS and later repressed in 1981 which came in a B&W version of the sleeve that some sources list as a self release private pressing done by the band themselves - this has been denied by members of Cultural Noise.



500 copies only reissue, housed in its original full colour version artwork.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

Vinyl includes A 2-Part Full-Colour Vaughn Bodé Panoramic Collage

4 x VB Stickers (10x10mm)
Frame-able Insert Print (300x300mm)
180gm Black Vinyl
Shrink-Wrapped Gatefold Sleeve

On his latest album, 'The Sun is Shining Down', Blues legend John Mayall
teams up with a stellar cast to deliver a funky soulful affair punctuated by
brass, violins, harmonica and electric ukulele
Special guests include, The Heartbreakers' Mike Campbell, fast rising roots rocker
Marcus King, Americana icon Buddy Miller, Scarlet Rivera of Bob Dylan's Rolling
Thunder Review, Chicago blues guitar mainstay Melvin Taylor and Hawaiian
ukulele star Jake Shimabukuro. Also on hand are Mayall's longtime dynamic
Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums
with Austin's multi-talented and charismatic Carolyn Wonderland on guitar.
Recorded at Robby Krieger's (The Doors) Horse Latitudes studio with Grammy
nominated Producer Eric Corne, 'The Sun is Shining Down' is Mayall's 5th studio
album for Forty Below Records, a fruitful partnership that began with 2014's A
Special Life.
"I couldn't be happier with the new record," exclaims Mayall. "I can't wait to share
it with my fans. Each one of these special guests brings something unique to the
album and our team works so well together. I think you can hear that chemistry in
the music," raves Mayall.
The album explores a range of styles and eclectic instruments with guests
Scarlet Rivera's violin, Jake Shimabukaro's electric ukulele and Mike Campbell,
Marcus King, Buddy Miller and Melvin Taylor on guitars. As significant as each of
these guest turns is, however, they can't overshadow Mayall's own spirited vocals,
iconic harmonica and lyrical keyboard work.