Cerca:50

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

Ryuichi Sakamoto, Daniel Lanois, Loscil, K Leimer, Deaf Center, Tangerine Dream, Arvo Pärt Wake is a distillation and reflection of the work of three Portland musicians thrown, like the rest of the world, into forced isolation by the continually-mutating curse of a natural world in disequilibrium. The product of involuntarily inward-looking emotional landscapes, Wake emerged sounding surprisingly expansive and confident. The trio uses a variety of instruments –including harp, fretless bass, piano, and a variety of synthesizers– to conjure sparkling panoramas of the imagination that are deep-pooled and impressionistic, bracing yet comforting. Mike Grabarak and Joshua Ward have performed together for years as a duo under the moniker of Location Services, while Derek Hunter Wilson has primarily worked as a solo composer in the classical realm. For the Points Of No Return compilation, Beacon Sound's 50th release and a benefit for the Beirut Musicians Fund, they recorded a collaborative piece entitled "Interdependence In Solitude" that was so promising the label offered to release an album if they continued down the path they had started upon. The resulting eight songs are simply mesmerizing. Made during a period of change and upheaval in the world and society where many people were disconnected from others, the album is the product of a collage-like dialogue built on trust and patience. While the musicians couldn’t physically be together for much of this time, they began sending musical ideas to one another in a conversational back-and-forth that acted as an anchor of stability – something they found they could turn to and depend on when things felt uncertain elsewhere. This comfort zone led to some transcendent moments of experimentation. “Delicate Need”, for example, features recordings of exaggerated pizzicato that were sampled and then run back through processing effects, which were then subsequently performed live over the original track. As things became less risky on the Covid front, they would occasionally meet for backyard rehearsals. Indeed, a recording of one of these rehearsals became the basis for the opening track “Photo Aware”. Wake will be available later this summer as a limited edition LP, with design work by Berlin-based Studio Bernhardt. The cover painting was created by Portland artist Nate Ethington. Highlights: – Derek was invited by the artist Gregory Euclide (Bon Iver, Erased Tapes) to participate in his label project, Thesis, along with artists such as Benoit Pioulard, Loscil, and Julianna Barwick. – Derek‘s first and second albums as a solo artist were released by Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019). – Location Services likewise released their 2019 album Reincorporate on the label. – The artists plan to tour together in 2023. Cascadia release shows TBA. Bios: Location Services is the Portland-based project of multi-instrumentalist Mike Grabarek (Magic Fades) and harpist Joshua Ward. They’ve released music on Beacon Sound and Beer On The Rug. They perform both written and improvised music. Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound and has also collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally collaborated with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces. He has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, and Liima.

Declan O'Rourke is an artist known as a consummate performer who
captivates audiences time and time again the world over whether
commanding the stage alone with a guitar and a microphone,
accompanied by a 50 piece orchestra, or surrounded by a band
Having performed extensively in the US, Europe and Australia, O'Rourke's growing
status is one of a significant global artist.Packaging: 2LP Gatefold w/ 5 bonus
tracks

For The Driver Era, music can't and shouldn't be forced
The band, formed by brothers Ross and Rocky Lynch in 2018 while on tour with
their former group R5, aims to embrace the present moment, creating songs that
reflect each experience and feeling as it comes. It's a philosophy that pervades all
of the duo's releases, from their debut Summer Mixtape (expected to release later
this summer) features the band's two new tracks - the Rolling Stone- backed
'Keep Moving Forward' and lead single 'Malibu', inspired by summertime
escapism. In between polishing off the new songs and hitting the road, Ross is
also a critically acclaimed actor (he drew rave reviews for his title role in the serial
killer biopic My Friend Dahmer and recently starred in Netflix's The Chilling
Adventures of Sabrina).

Gold Vinyl

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

Never Before Released! Vinyl Only! Captured at the height of their powers during the heyday of the grunge movement that they inspired, J Mascis and Dinosaur Jr perform tracks from their back catalogue live on MTV’s 120 Minutes show. Loud and heavy as ever, the band turn in an inspired performance, which has since become a legendary favourite among fans. Never officially released until now, and produced in association with MTV and the band, ‘Seventytwohundredseconds’ is the latest in our ongoing extensive exploration of Dinosaur Jr’s brilliant Sire Records period. A must-hear glimpse of one of the treasures from the rich seam of American alternative rock and grunge artists who reinvigorated guitar-orientated music in the late 1980s and 1990s.

David Versace is an Australian multi-genre keyboardist, composer and producer based in Meanjin, Queensland. Growing up in a very musical household it was always important to express and embrace all types of music and sonics. His sound ranges from Jazz and Samba to ambient works and the odd dance-floor heater. David also plays in Meanjin nu-jazz dance outfit First Beige.

Since late 2019, he has self released around 20 different tracks and with the most recent signing to La Sape Records David is excited to announce his debut solo album 'Okra' a conceptual body of work that flows through a culmination of raw organic concepts conceived by In The Moment, and his most elegant & articulated work yet.

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

The Classic Greg Foat Group line-up returns with special guests Art Themen on Soprano Saxophone and Morgan Simpson (Black Midi) on Drums. Heavy Synth and percussive Grooves

The music on this album includes the audio explorations and experiments that led to the creation of the finished soundtrack - the used and unused elements as I worked to find the ‘Delia’ sounds I felt best connected not only directly to her life experiences that influenced her music, but were expressive of, and representative of her. The compositions are inspired by my research of the Delia Derbyshire audio archive, Delia's original compositional notes and techniques which in combination with my admiration and love of Delia’s

work provided a way to integrate her style and approach to music with my own. An alliance of our sensibilities. Cosey Fanni Tutti

Instrumentation: Synthesisers, Guitar, Cornet, Coolicon, Cymbals, Nagra Tape Recorder,Tape Manipulationsand Field Recordings.

Vocals by: Cosey Fanni Tutti & Caroline Catz.

Music written, composed, performed and produced by Cosey Fanni Tutti 2019 - 2021. Recorded at Studio 47, Norfolk and Twickenham Studio 3, London. Mastered by Chris Carter.

Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. Together they're Lampen, a duo making highly addictive "post jazz" with a musical heart far beyond genre. Call it what you will, but the main point is listening, and there's a high season for that coming as Lampen is set to release their debut album on We Jazz Records on "Kintsugi Gold" vinyl and digitally. Previously a CD only release (Karkia Mistika Records, 2020), "Lampen" presents two artists who have a knack at making music which opens up with each listen, pulling you deeper and deeper. Meditative passages flow by slowly as in a peaceful river stream, erupting into full rapids of sound when the time is right. This is sonic rafting for the curious listener.

Tatu Rönkkö (b.1983) is a Finnish percussionist and drummer who has been active in the experimental music scene of Helsinki and Berlin during the past ten years and has toured Europe, U.S. and Asia extensively. He is a forming member of Liima (DK/FI) and has performed with such artists as Ilpo Väisänen (Pan Sonic), Samuli Kosminen (Múm), Jimi Tenor, Nils Frahm, Efterklang, Raoul Björkenheim, Elifantree and Islaja. Rönkkö has been playing improvised solo concerts in people's kitchens ("I Play Your Kitchen") using only kitchenware found in each home as instruments.

Kalle Kalima (b. 1973 in Helsinki, Finland) has worked with trumpeters Tomasz Stanko and Wadada Leo Smith, sax players Juhani Aaltonen, Anthony Braxton, bass players Greg Cohen and Sirone, guitarist Marc Ducret, composers Michael Wertmüller and Simon Stockhausen, pianists Jason Moran and Hans Lüdemann, drummers Jim Black and Tony Allen and singers Andreas Schaerer, Linda Sharrock as well as with Ensemble Resonanz and Jazzanova. Kalima has composed orchestral music for Opera Lyon, Ensemble Resonanz (Chamber Ensemble of Elbfilharmony in Hamburg), String Trio of Munich Symphony, NDR Big Band, Umo Big Band and Jousia Ensemble among others.

Remarkably it's been 4 years since SB81's 'Future Point EP' but the Wolverhampton-based producer is back in style, this time with the 'Picture This EP'.

A 4-tracker representative of the authentic SB81 sound - curiously emotive at times yet dramatically brutal at others with twists and turns from top to bottom.

"Hailing from Amsterdam, Secret Rendezvous' singer/songwriter Sietske Morsch and producer/guitarist Remi Lauw are well versed in crafting great soulful pop songs with more than a cheeky pinch of 90's throwback flavor. Long considered to be specialists in sweet and sultry slow jams, their own brand of indie RnB is a lush fusion of lo-fi bedroom sounds, catchy melodic hooks, sexy basslines and polished RnB aesthetics.

This limited edition vinyl LP combines the 4 original digital EP tracks + a selection of 4 of the remixes as featured on the digi remix EP.

Comes with full coloured artwork for inner and outer sleeve. Shrink-wrapped."

Freestyle's run of reissues continues with the sought-after 1983 UK electro-funk of State of Grace's Touching the Times getting a freshly remastered 12" cut!

State of Grace were a trio formed at the start of the 80s, releasing a handful of singles between 1981 and '84. As SoG's David Inglesfield recalls, "in early 1982 we recorded 4-track demos of 'That's When We'll Be Free', 'Touching the Times' and a third song. When we played them to Mike Collier, who'd released our first single for his Flamingo label, he offered us a contract on the spot and licensed the finished tracks to for release on the PRT label"

Having released 'That's When We'll Be Free' in late 1982, 'Touching the Times' landed on 12" and 7" formats in early summer 1983. "For the demos, we'd used a TR-808 for the drums, and we kept the 808 for the final version of 'That's When We'll Be Free'", Inglesfield continues, "but for the full version of 'Touching the Times' we decided to use a Linn LM-1 for the drums. The keyboard sounds were from a Roland Jupiter 8, Roland SH-2 and Fender Rhodes"

Touching the Times was recorded at The Bridge studio near Putney Bridge, then mixed at The Sound Suite in Camden. "At the time, we were into the Sloane Ranger upper-class English look" says Inglesfield "and for the photo shoot for the original picture sleeve, we wanted an aristocratic type interior, and Broughton Castle in Oxfordshire was selected for this purpose."

The updated centre label image on our reissue shows State of Grace's Adrian & Pat Thomas, and David Inglesfield, in the Camden Mews outside The Sound Suite - located just a short walk from Freestyle's home in Kentish Town.

art of The Optic Sevens 4.0 Reissue Series.
Limited to 1000 copies worldwide.
Pressed on Magenta Vinyl.
Includes postcard and poster.
Dolly mixture were as instrumental in the founding of indie-pop as Orange Juice and The Pastels. The Cambridge three-piece, comprising bassist/vocalist Debsey Wykes, guitarist Rachel Bor and drummer Hester Smith released just four singles, an EP and an album in their six-year life span; but they revealed a remarkable gift for songwriting and a keen sense of adventure and set the template for every female indie band since.
The third single from Dolly Mixture is a perfect mod-pop affair. Co- produced by Captain Sensible and originally released on Paul Weller's Respond label.

One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.

 OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.


Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.

Uit de Hoogte goes raw on new release “Λέων” with 15 analog jams made between July 23 and August 22, summer 2022. All tracks are written, recorded and mixed off the cuff, straight to 1/2 inch reel-to-reel tape which gives the tracks a deep and warm vibe. Some additional editing and mastering duties were done in the box. The Belgian producer doesn’t hesitate to explore new grounds with tracks ranging from house to garage and acid till techno. These 100 minutes of bangers are printed on a limited number of 50 cassettes. Download option included*.

Strictly limited-edition 12” vinyl in full colour sleeve

Mercury Prize winner Roni Size is one of the true pioneers of the Drum & Bass / Jungle scene, and one of only a handful of names to transcend the genre to become a real household name. The Roni Size & Reprazent debut studio album 'New Forms' went platinum a staggering five times, which shined a huge spotlight onto what was an underground scene healthily bubbling under the surface.

”'Cold Front' was one of the many dubplates that Roni produced when he was on fire in the mid 90's. 'Locked Down' became an early 2000s Movement Anthem when we were in Bar Rumba, it was sought after by every Jump Up DJ at the time... everybody was trying to sign it." Bryan Gee

Both cuts are a snapshot of Roni's signature sound, a must-have for any fans. The seventh part in this vinyl series, with yet more legends waiting in the wings. These are an absolute essential for vinyl collectors.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard

1. QUE BELEZA - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)

A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche

2. ON A SUMMERS DAY - Archie the Goldfish -

A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)

3. ENI AGEE - Cubafrobeat -

Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.

4. HARMONIUZINHO - Lokkhi Terra

Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.

5. KANDE REVISITED - Lokkhi Terra

This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".

6. NUORACLE - Justin Thurgur

Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.

7. EU TOPO - Beiju

Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .

8. SHADHO KI RE AMAR - Shikor Bangladesh All Stars

Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

Das Londoner Duo Jockstrap (Georgia Ellery und Taylor Skye) wird sein lange erwartetes Debütalbum "I Love You Jennifer B" am 9. September via Rough Trade Records veröffentlichen. Jockstrap haben die bevorstehende Veröffentlichung bereits mit ihren Singles "50/50" und "Concrete Over Water" angedeutet. Beide wurden von BBC Radio 6 Music auf Rotation genommen und von der nationalen und internationalen Presse hoch gelobt. Das kosmische Begleitvideo zu "Concrete Over Water" wurde bei einer exklusiven Vorführung im The Castle Cinema, Hackney, uraufgeführt, gefolgt von einer weiteren von Jockstraps kultigen Partys im The Glove That Fits. Georgia Ellery und Taylor Skye von Jockstrap kommentierten die Albumveröffentlichung wie folgt: "I Love You Jennifer B ist eine Sammlung von Jockstrap-Tracks, die seit 3 Jahren in der Mache sind. Alles darauf klingt ziemlich einzigartig, also hoffen wir, dass für jeden ein Track dabei ist; also etwas, das dich anspricht und sagt "Ich bin ein Banger"." Skye fügte über "Glasgow" (ihre neue Single) hinzu: ""Glasgow" ist unser coming of age, moving forward, long-distance, travelling, beautiful bosk, wonderful thicket song." Und Ellery sagte über das Thema des Songs: "Glasgow ist eine tolle Stadt, vielleicht meine Lieblingsstadt in Großbritannien! Der einzige Nachteil ist, dass es die ganze Zeit so verdammt kalt ist." Wenn Georgia Ellery und Taylor Skye als Jockstrap Musik machen, gibt es für den Prozess und das Ergebnis nur eine Definition: pure moderne Pop-Alchemie. Mit ihrem Debütalbum"I Love You Jennifer B" werden sich Jockstrap als eine der vitalsten jungen Gruppen etablieren, die seit Jahren aus Londons Schmelztiegel der Musikkulturen hervorgegangen sind.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Demon are proud to release “Eddie Piller Presents British Mod Sounds Of the 1960s”, the follow up the “The Mod Revival”. This 2LP set serves an introduction to 'British Mod Sounds of the '60s’ and features 34 tracks.

Curated by Acid Jazz Records and Modcast founder Eddie Piller, this collection features the stapes of the British Mod scene including Small Faces, The High Numbers, The Action, The Fleur De Lys, The Kinks, Spencer Davis Group, The Creation, Rod Stewart, The Yardbirds, and The Love Affair.

"Be in with the In Crowd once more."
Every great youth cult deserves a great soundtrack, and when the '60s Mods adopted classic American R&B, with a side order of hip Jazz, they undoubtedly found the right music for their exuberant and stylish way of life. And yet, buying expensive imports, hoping for a local release or praying for a rare visit from overseas talent was never going to be enough to satisfy British youth with a thirst for the latest sounds. Certainly not those on the dancefloor and definitely not those with their own musical ambitions.

It was a music scene that began with imitation, before skill and imagination lead curious minds to innovation, a scene that evolved from average (at best) copies of releases on the Chess, Motown and Stax labels, to become something more sophisticated,something quite unique, something very British.

Knucks takes the Hip Hop world by storm as he gears for the release of his highly anticipated new project "Alpha Place"'.Following the release of his unorthodox visuals, Knucks delivers heartfelt messages through addictive rap compositions

A dynamic new face to the genre, "Alpha Place" focuses on the feelings and thoughts that the artist and producer has been experiencing growing up in London, channeled through the stirring essence of music. Highlighting important narratives and revitalising the Hip Hop genre, with a composition which is both soulful, moving, and memorable, the rising new artist is changing the rules of the
game.Knucks is taking his artistry to new heights in Alpha Place, with soulful samples and distinctive production styles paired with some of the UK's biggest names in the rap game. The project is more than just an ode to the neighbourhood Knucks grew up in Alpha House but a representation of life and culture on all sides of the capital. Giving a voice to many experiences shared by young people growing up. Knucks makes his mark on the industry with this new body of work pushing boundaries and channelling his authentic flow and flair.

From selling out headline shows and opening for the likes of Wretch 32, Knuck's approach and unorthodox style has garnered over 150 million streams across all platforms independently as well as earning critical acclaim from outlets such as GQ Style, Wonderland, Notion and many more. Boasting a range of noteworthy features including contributing show-stealing verses on collaborations like "Beg To Differ" with Emil, "Ting Tun Up, Pt. II '' with Montreal's Skiifall.

"My debut album "Leidenzwang" is the consequence of boundless obsession" apostrophizes Kenji Araki with stoic calm. An obsession in the most positive as well as in the most negative of all senses, involving a wide variety of media. Kenji, in his early 20s, is known to be a digital and interdisciplinary artist from Austria with roots in Japan whose work is primarily influenced by the deconstruction of music and contemporary art.

"Leidenzwang" (in English: Suffering compulsion) is confrontation. Confrontation with the world. Confrontation with oneself. A confrontation that can be productive and cathartic. However, until Kenji Araki was able to get into this pattern of thinking, it was necessary in the process of creation to leave his very own sanctuary which he cultivated over the years. Escapism in the rear-view mirror of the past. "Leidenzwang" as a natural hybrid of passion (probably the most beautiful feeling a creatively active person can experience) and dangerous self-flagellation plus constant unrest. The result and musical core of Kenji Araki's debut album is an experimental, emotional post-club exploration with pop sensibility that deliberately ignores genre boundaries.

12 tracks spread over 50 minutes in fast forward: It starts with the adequate intro "Avant" - a primal scream. Next with "Matter" where Kenji collaborates with Thomas Mertlseder and constructs the sound world of a dark fashion film. Emotional highlights for the vividly vibrating club floor as well as for the digital terminals of Planet Earth delivers "Nabelschnurtanz" with its amalgamation of human sound waves. Followed by "Gel & Gewalt" - a combination of 90s Grunge, IDM and exponential rhythms - the fierce "SINEW" with its distorted double bass recordings and "Monomythz" which is Kenji's interpretation of a club banger with a combination of 2000s Eurodance aesthetic and hypermodern off kilter beats.

A moment to take a breath is offered by the spherical track "Milieu" which was written during an emotional low and thus naturally has a dark note. At position 8 is "lluviácida" - inspired by the "rave scene" observed from afar. Closely followed by the album's title number "Leidenzwang" with its granularized piano melodies while nature sounds can be heard in the background.

The album finale is formed by the polyrhythmic fireworks "Deathless Mess", the piece "Isan 世襲" (in Japanese heritage) which symbolizes the own inner turmoil and at the same time acoustically illustrates the relationship to his origin. And the conclusion is marked by the heartbreaking "Au-Dèla" as the epitome of a closer. Kenji Araki: The time is now.

"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

Middle Eastern groove masters Sababa 5 take on the unthinkable for Batov Records. "Popcorn" and the "Birdie Song" are reworked into psychedelic dancefloor smashes laden with synths, surf guitars and Hammond licks.

As pockets of new jazz scenes emerge around the world, it's apparent that New Zealand's bubbling microcosm in Wellington interprets the genre through a unique lens. Clear Path Ensemble bottles the energy of that burgeoning movement and distils it into moody morsels of differing styles. From electric jazz to ambient, experimental, house and funk - it's a DIY, jam-session attitude towards composition, as the band members freely cherry-pick from a vast orchard of influences. Citing inspiration from 70s ECM catalogue, the ensemble channels the "expansive and astral" elements of electric jazz, with an introspective dynamic. At times it's fused with catchy synth hooks, smooth basslines and shuffling beats, while other tracks morph into moody electronic soundscapes, and even Sun Ra-esque free jazz. Led by percussionist Cory Champion, the band released their debut self-titled album in 2020, followed by a headline performance at the 2021 Wellington Jazz Festival. Champion has played drums alongside some of New Zealand's most revered contemporary musicians (Lord Echo, Lucien Johnson and Mara TK to name a few), and also produces leftfield deep house and techno under the name Borrowed cs, which partly informs the ensemble's electronic production.

Auf ihren neuen Album 'Two Sisters' präsentiert Sarah Davachi, Komponistin und Interpretin minimalistisch-elektroakustischer Musik, zusammen mit einer beeindruckenden Gruppe von Musikern und Interpreten neun erweiterte Kompositionen für Kammerensemble und Pfeifenorgel solo (darunter mit einer seltenen italienischen Traktororgel aus dem Jahr 1742). Die erweiterte Instrumentierung umfasst Glockenspiel (das drittgrößte der Welt samt einer 12 Tonnen schweren Glocke), Chor, Streichquartett, tiefe Holzbläser, Posaunenquartett, Sinustöne und elektronische Drones. Der konzeptionelle Faden der Kompositionen ist die ewige Balance von Zurückhaltung als Lust und Notwendigkeit. Das Album ist durchzogen von gespiegelten Klang- und Strukturbildern, die sich auch in der Ikonographie des Covers widerspiegeln: der Satyr und das Subjekt, der gemeinsame Blick von Kopf und Körper, der Dialog zwischen zerebraler und physischer Reaktion, wie oben so unten. Es ist, als gäbe es zwei Schwestern des Glaubens und des Zufalls."Two Sisters" erscheint als 2CD im Hardcover mit 24-seit. Booklet und als 2LP im Gatefold-Sleeve mit 20-seit. Booklet und DL-Code.

Nachpressung auf weißem Vinyl! Auf ihr Solodebüt "No Time For Sorrows" von 2004 folgend kehrte FABIENNE DELSOL 2007 mit frischem Fleisch für ihre Fans zurück: "Between You And Me". Aufgenommen über drei Jahre hinweg ist "Between You And Me" eine moderne Schatzkiste, die den Pop der Swinging Sixties in ein zeitgenössisches Gewand hüllt und hier und da farbige Akzente mit Songs auf Französisch und der Single "Catch Me A Rat" setzt. Im DELSOL typischen Mix aus Coverversionen und Songs, die von George Miller, Peder Bernhardt und dem Damaged Goods Kollegen PETE MOLINARI, der auch als Gast auftritt, geschrieben wurden, lässt sich so manchem sommerlichen Tagtraum nachhängen. FABIENNE DELSOL stammt ursprünglich aus Frankreich und machte seinerzeit als Frontfrau mit der legendären Londoner Garageband THE BRISTOLS von sich reden. Seitdem lebt sie mit Partner Liam Watson (Produzent, Toe Rag Studios) in London.

,Four" überrascht mit einem nuancierteren und reiferen Psychedelic-Sound, während gleichzeitig der für Fabienne typische zackige French Pop trifft 60's-Garage Stil beibehalten wird. Es gibt eine Vielzahl von Instrumenten, insbesondere das Mellotron funktioniert als willkommene Ergänzung bei vielen Tracks. Die zeitgenössischen Originalkompositionen ,I'll Never Be Lonely Again" und ,See How They Run" sind meisterhaft für Fabiennes unverwechselbare Art kreiert worden, und beide zeichnen sich durch einen starken 60's Groove aus, der mit ihrem charakteristischen Sound in Einklang steht. Wie bei jeder Fabienne Delsol LP werden sorgfältig ausgewählte Cover von Fabiennes zarter Stimme liebevoll interpretiert: ,Follow Me" von Lyme & Cybelle ist ein wunderbarer Garage-Folk-Ausflug und ,Face", der Eröffnungstrack des zweiten Albums von The Human Beinz, kommt als atemberaubende Interpretation. Fabienne einen ,Spare Parts" Album-Track in Angriff nehmen zu hören ist keine Überraschung, immerhin ist sie ein lebenslanger Status Quo Fan und ,When I Awake" als zurückhaltend funkelnde Fassung gibt es so nur von ihr. Der Höhepunkt ist Francoise Hardys schwelender französischer Klassiker ,J'ai Fait Du Lui Un Reve" der hier üppig ätherisch, mit starker Emotion und langsam aufbauenden Tonschichten neu interpretiert wird.

Fabienne moved to London in 1996, almost immediately joining the Bristols, a then studio project consisting of Liam Watson and Ed Deegan, two producer-engineers at Toerag Studios. After two albums, a few singles and several tours of Europe, the Bristols came to an end. Eager to carry on singing, Fabienne went solo in 2004. With the help of Liam Watson producing, Fabienne recorded her first album No Time For Sorrows concentrating on a more elaborate but similar style she had previously experienced with the Bristols.

White Vinyl repress. Put together in studio down-time and ably backed by Toe Rag's stable of musicians, On My Mind features Fabienne's customary mixture of both English and French lyrics sung with plenty of coquettish charm. The album marks something of a departure from the jaunty beat-pop and ye-ye of her previous albums however, there's a definite autumnal feel to several of the tracks, putting you in mind of what the much mooted Francoise Hardy/Nick Drake collaboration might have yielded.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

Der Klassiker "Muswell Hillbillies" von The Kinks aus dem Jahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Muswell Hillbillies" ist das erste Kinks-Album aus dem Jahrzehnt und für viele ihr bestes überhaupt. Es warf einen Blick zurück auf die Londoner Wurzeln von Ray und Dave Davies und erzählte Geschichten von Arbeiterfamilien, die aus der vom Krieg zerstörten und vom Wiederaufbau verwüsteten
Innenstadt in die seltsamen, grünen Vororte von Nord-London zogen. Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Tony Cousins in den Metropolis-Studios neu gemastert. Die 1CD-Version enthält drei neue Ray Davies Remixe: '20th Century Man', 'Acute Schizophrenia Paranoia Blues' & 'Travelling With My Band', sowie neue Sleeve Note mit Bandzitaten und Fotos.

Der Kinks-Klassiker "Everybody's In Show-Biz-Everybody's A Star" von The Kinks aus demJahr 1971 wurde anlässlich des 50-jährigen Jubiläums des Albums von den Originalspuren neu gemastert und
wird am 9. September als heavyweight Vinyl und Digipak-CD veröffentlicht. "Everybody's in Show-Biz" ist ein Doppelalbum, das sich einerseits mit Geschichten von der Straße und andererseits mit Songs von der Straße beschäftigt. Das Album enthält an vielen Stellen Ray Davies Witz, vor allem in dem schummrigen Anfang von "Unreal Reality" oder dem augenzwinkernden "Look a Little on the Sunny side" und dem beschwingten Klassiker "Supersonic Rocket Ship". Neben dem Witz zieht sich aber auch ein Hauch von Melancholie durch das Album, vor allem bei dem Hit "Celluloid Heroes". Das Artwork wurde hochwertig aufbereitet und auf ein Gatefold-Sleeve
übertragen. Alle Songs wurden von Ray Davies produziert und von dem Kinks-Experten Kevin Gray neu gemastert.

Die 1CD-Version enthält einen brandneuen Ray Davies Remix von "Celluloid Heroes" und enthält umfangreiche Sleeve Notes mit Bandzitaten und Fotos

Der Original Soundtrack zu der so einnehmenden wie unheilvollen Netflix-Horror-Serie "Archive 81" von Portishead Mitglied & Musikproduzenten Geoff Barrow und Komponisten Ben Salisbury. Beide sind für ihre gefeierten Soundtracks für Filme wie "Ex Machina", "Devs" oder "Free Fire" bekannt.

The band describe the EP:

“This EP is definitely bigger, having more time in the studio definitely meant we got to experiment more and layer more into each track so there’s an overall bigger sound! The main themes of this EP are restlessness and anxiety, during lockdown that’s how myself and most people were feeling so that’s what inspired a lot of the writing.”

Recorded predominantly in Orlando’s studio in Los Angeles, ‘When the Lights Go’ is his first album since 2012’s critically acclaimed ‘Trouble’. The new album marks a departure in sound, defined, of course, by the events of the last few years. Encompassing songwriting, ballads and a pop-centered aesthetic, it’s full of depth, feeling, storytelling and woe - presented in a compelling manner, as only he can.

When the Lights Go is a substantial body of work, containing 17 tracks, representative of the duration between albums, “I feel grateful to know that there are people who are interested in more music from me. So I want to give them something significant in length”, he says. When the Lights Go also marks a shift into the pop domain, Orlando’s vocals take center stage with arrangements that complement the sadness in the songwriting.

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.
The band’s 1990 debut, ‘Smoke ‘em if You Got ‘em’, made quite the first impression
with frantic stand-up bass, fiery guitar playing, and the Rev’s wild howls stirring up a
volatile cocktail of ‘50s rockabilly, punk energy, and sly humour. AllMusic said of the
album, “it’s all sleaze, it’s all wrong, and it’s all so very, very right,” while, on
encountering the hit single ‘Psychobilly Freakout’, Beavis and Butthead raved “This
dude is weird!” “Yeah, yeah, he’s like… our kind of people.”

The legendary record label Brunswick Records is home to a
plethora of amazing recordings from classic soul to rhythm &
blues. In this collection we trawl through the vaults to present you
with twelve of the finest funk inspired tracks which are sure to get
you perspiring on the dance-floor.

Classics come in the way of Gene Chandler’s scintillating cover
of James Brown’s There Was A Time, Erma Franklin’s Light My
Fire from her timeless album Soul Sister and Exit 9 with Miss
Funky Fox - a remarkable addition to the Brunswick catalogue
given these musicians were only between the ages 16-20.
Dig a little deeper and we have supreme album cuts from Jackie
Wilson, The Eliminators, The Young-Holt Unlimited, The Lost
Generation, Total Eclipse and Willie Henderson. All of which will
get your reaching for your original album copy.

Pressed on 140g black vinyl with a printed inner sleeve and
artwork reflecting the original Brunswick releases. This is an
essential addition to anyone’s record collection.

Es geschah gegen Ende des Jahres 2008, als drei Liebhaber der 7"-Single beschlossen, in Berlin eine neue Vinyl-only Clubnacht zu starten. Mit dem Ziel, die Fixierung auf einen speziellen Musikstil, den bis dahin die anderen Vintage Dances zelebrierten, zu durchbrechen. Es sollte keine Grenzen geben, also begaben unsere drei sich auf eine lange Reise, immer auf der Suche nach neuem schwarzem Kleinvinyl für die Sammlung, möglichst oskur, aber mit der Prämisse, den Tanzboden zu füllen. Und hier nun findet sich die 3. Sammlung aus dem Dusty Ballroom Schatzkästchen - eine spannende, aber eklektische Mischung aus 40er Jahre Jump Blues, 50er Jahre Exotica, einer Prise DooWop, Surf mit Eastern Vibe, Rock & Roll aus Hawaii, Burlesque Tunes und mehr. Funktioniert in jeder Lebenslage!

Reduced with immediate effect from £16.99 to £8.99 while stocks last. Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.”

Emily Fairlight is a New Zealand songwriter with a rare talent for capturing the bare essence of stories and moods, combining beautifully honest lyrics with heartfelt melodies. The prevalence of acoustic guitar and intimate sharing of lived experience through song hint at folk music - or, as Fairlight self-deprecatingly calls it, “doom-folk”. Her powerful quivering vibrato and stark, haunting vocal tone are teak-hard yet soft as crushed velvet and have elicited comparisons to PJ Harvey, Bridget St John, Natalie Merchant and Cat Power, all musicians with distinctive voices and a lyrical talent for conjuring a kind of experiential realism. Sun Casts a Shadow is a stripped-down, timeless blend of Fairlight and McLeod’s songs, voices and guitars. Fairlight’s material carries the weight of experience, with McLeod’s harmony vocals and guitar adding colours from The Shifting Sands’ South Pacific Cosmic Rock palette to these vignettes of heartbreak and hope, while Fairlight’s voice brings character and a spectral quality to The Shifting Sands’ songs. With a pandemic devastating the international tour-scape in 2020, Emily's prolific writing continued back in NZ and another album has been recorded, showcasing a broader sonic palette and the continued maturing of Emily's songcraft. In the way that In The Pines marked a kind of unpressured bookend to the Triffids’ auspicious beginnings, before they took their next, bold, step, Sun Casts a Shadow is a quietly intriguing bridge between Fairlight’s past and future; a chapter in a story with many more to come

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

"A gang of stylish demons discover a wild animal pacing around a Berlin cellar, wearing only a hawaiian shirt and someone else’s blood. He doesn’t know what day it is, just that he went to a party several months ago and hasn’t been to sleep since. They lovingly rescue and rehouse the wretched creature in a glaas box where he’s content to howl his paranoid chants all day for their entertainment and now ours. This debut lays out a mangled inventory of fractured memories, haunted visions of broken people and places making a sacred ritual out of ruining themselves. These are hymns to so many nights gone so far wrong, from the graveyard sex to the extra bump you might have resisted had the urge to feel something not overtaken you… Employing an elevated and reinvigorated version of the ‘modern post punk with anarcho flourishes’ mode, with whirring synthesisers and creepy keys signpost into even more disorienting territory, GLAAS create a creepy and compelling soundtrack to the romantic nihilism of urban decay: disturbing lifestyle choices but make it sexy." - Bryony Beynon Featuring members of Clock Of Time, Exit Group, Cage Kicker, Idiota Civlizzatto, Lacquer and more. This is the debut LP from GLAAS. The LP comes housed in a sleeve with linocut artwork as well as an additional A2 poster from Raquel Torre and an additional lyric sheet.

A radiography of the Spanish industrial universe as retold by one of its main protagonists.

Following up Andrea Benedetti's review of the Italian electro scene at the turn of the millenium, the second Vanishing Tape sees Dynamo and Dj Waje travelling to Spain and setting back the clock to the early 80s.

Andreas Noarbe AKA Dynamo was a crucial figure of the scene, managing the Esplendor Geometrico and Geometrik labels and founding Aviador Dro. Sequenced and mixed by Waje DJ, a stalwart of Madrid's booths for over 3 decades.

The dark reverse of the underground, the Spanish tape culture / DIY scene brought about a nihilistic, tenebrose, hellscape vision in stark contrast with the hedonistic excesses of the Movida.
An hour long excavation of drones, noises, skeletal rhythms, field recordings and the less pretty pages of the electronic scene.

Limited to 50 copies.

2022 reissue of »Black Sea«, originally released in 2008. Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. "Imagine the electric guitar severed from cliche and all of its physical limitations, shaping a bold new musical language." - (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece.

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.

As the name suggests, Sai Galaxy represents a star-studded
cluster of artists from around the world – their varied styles
colliding to form a refreshing fusion of classic Afrobeat, disco
and West African funk.

Drawing from the influence of 70s and 80s Nigerian artists
such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai
Galaxy collective is on a mission to reproduce the analogue
warmth and groove from those decades. Consequently, they
lean heavily on 70s production techniques - free from the
predictable rigidity of digital sequencing.

Spearheaded by Australian multi-instrumentalist Simon
Durrington (from Digital Afrika), the members include
Olugbade Okunade - former trumpet player from Seun Kuti’s
Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and
Vanessa Baker.

While the EP seeks to reflect 70s production, glimpses of
contemporary elements can be found in the arrangements
and harmonies, at times reminiscent of modern artists such as
Lord Echo, Bosq and Voilaaa.

As Durrington believes: “dance is vital to health and
community”. And with an EP that urges you to dance from
start to finish, consider Sai Galaxy a cosmic tonic for the
modern lifestyle.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

“Just how much can a guitar band cram onto a 7” single? Quite a lot, actually, if our July single is anything to go by. On these two tracks there are all manner of guitar layers, clean and overdriven, traditional tunings and custom tunings, bottlenecks and effects pedals. Add a couple of samples from a 1938 radio play and a friend from Norway and you have a ‘Telemark’ – with a starkness which hints at dramatic fjords in Autumn – and ‘We Interrupt Our Programme’ which almost skips towards mid-1970s glam rock in its sparkly platforms.”

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

Trapped Animal Records are proud to present for the first time on vinyl, Stars and Rabbit's 2020 smasher 'Rainbow Aisle'. Remastered at Metropolis to lacquer and cut to 300 Purple Stripe 180GSM 12"s this is a very special package from Indonesian household names, Stars and Rabbit! // Press quotes : Alternative Fruit, UK - This fun and catchy album is laid back to back with classic numbers which each have a soul of their own. A friendly rock 'n' roll delivery mixed with classical melodies and homely closeness allows us to hear this band in person from wherever we happen to be. // Analogue Trash, UK - Reviewed (Little Mischievous) There’s a joy and innocence at the heart of Little Mischievous that is delightful and infectious, in large part down to the fun, rollercoaster vocals of Elda Suryani. Sounding like a cross between Nina Persson and Björk, her livewire performance is the perfect foil for Didit Saad’s equally electric lead guitar melody and the briskly bouncing arrangement. // Reviewed Naked King - They make up the central core of the song, as soft synths and lush strings wash in and out of perception, combining to confect a sweet sense of serenity. Though contemplative, Naked King looks outward and also seeks to engage the listener: the children’s choir and assertive guitar solo bringing the song to a euphoric crescendo, with Elda Suryani’s performance directing the song to ever greater heights. // Antenna, Japan - Stars and Rabbit were captivated by a variety of songs that sublimated 90s introspective alternative rock, mainly in Europe, such as Sigur Rós, Radiohead and Portishead. On one occasion, listeners like "Little Mischievous" show light guitar pops that can sing a long, and "Attic No.7" shows a jazzy, dark side like a trip hop. // Atwood Magazine, UK - Elda Suryani and Didit Saad make up the group and both employ signature rhythms and harmonies onto each song of theirs, and “Little Mischievous” is no exception with its slick guitar riffs and tantalizing vocal performance. // Beehive Candy, UK - Their new LP, Rainbow Aisle, a full spectrum of colors, showcasing their knack for groovy electro rock as well as intimate acoustic confessions. // Big Takeover, US - Wow, such a vocally and lyrically intriguing number! Yet again, there’s the ’90s alt-rock feeling, but the vocals are yes, mischievously impish; a teeny-tiny bit like SOAK vocally, but with a grainier, deeper timbre.

The second extended EP by London synth cyberneticians 3 Electro Knights is Rave One, which is human and machine in hot synergy. If Blixa Bargeld played the synthesizer he would probably come up with something like the crazed lead on Rave One. I Move In Another Dimension is a remix of very limited lathe cut single, which Rough Trade shops described as “Electro sqwonk and clatter meet Patti Smith style beat poetry’. This, the “Mandy” remix ups the psychedelic energy, with Mandy referring to the acid drenched Nicholas Cage starring film of the same name. The flip side track, I_tense, is a 14 trip into territory somewhere between Berlin School synth and early Aphex Twin driven by perhaps the greatest synthesizer ever made, the Roland System 100m, and was recorded in one take with no overdubs Very limited copies – 250 only – on white vinyl with orange swirl. The sleeve design is by acclaimed graphic designer Asif Khan. Destroy/Exist wrote of their cassette album Sketches For Another Future: “Through krautrock, psychedelic, synthpunk, and modern electronica passages, 3 Electro Knights fully realize their analog electronic sound, exposing their warm connection with their synths.” 3 Electro Knights are Daren Pickles (Supercharger, bushpilot), Nik Clifford (Jesus Licks, bushpilot) and Ross Holloway (bushpilot).

1000 new edition on blue vinyl, the RSD version is long sold out. Packaged in tri-fold sleeve that replicates the original 1971 release and featuring an extra disc of live BBC recordings from the same era. 50-year anniversary vinyl release of the original power trio’s second incarnation, now expanded with BBC In Concert versions of the album’s key tracks. An epic milestone and key prog rock definer, fusing their blues rock roots and their finely honed electric sound of the early ‘70s. This limited release replicated the original 1971 packaging, with a tri-fold sleeve, an absolute essential for fans of this seminal act.

Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects - most notably the duo Nadja - on such independent labels as Karlrecords, Important Records, Southern Lord, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Recorded mid-pandemic, Songs of Undoing cannot help but have a sort of mid- or post-apocalyptic overlying concept, lyrically dealing with themes of exodus and travel / wandering, self-reliance, the weight of history...with pointed references to two post-apocalyptic, societal / environmental collapse novels, Octavia Butler's "Parables of The Sower" and Kate Wilhelm's "Where Late The Sweet Birds Sang." Musically, the songs move between minimal slowcore and a sort of textural noise-rock or what might be called deconstructed grunge, taking influence from artists like Lungfish, American Analog Set, PJ Harvey, and Stina Nordenstam.

Now who would have thought? Pile are back with an experimental improv record that is pure bliss. Painting immense landscapes and mixing viola, cello an tape loops to create a beautiful ambient voyage through noise, emotional electronics, pulsating drones and kosmische atmospheres. Dive in.

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

* Tena Stelin’s ‘Wicked Invention’ is one of the most highly-sought UK digital roots reggae vocal albums,
* Produced by Sound Iration (Nick Manasseh & Scruff), essentially, this is the vocal version of the classic dub album `Sound Iration in Dub’. This vocal set, like the vocal counterpart was released on Wau! Mr Modo in 1989.
* Features the sound system belters ‘Orthodox Music’, `Jah Equity’ and the title track.

Switched On 5/Remaster

Remastered von den Originalbändern erscheinen auf 2CD und 3LP weitere 21 Tracks, angefangen 1992 in Stereolabs Frühphase bis zum Jahr 2008, darunter Aufnahmen aus superlimitierten 7inch- und EP-Miniauflagen, rares Bonusmaterial, exklusive Compilation- und Kunstaustellungsbeiträge, Kollaborationen mit Nurse With Wound und ein Autechre-Remix. Zudem gibt es komplett unveröffentlichtes Material in Form von der 2004er Live-Version von 'Cybele's Reverie' (aus dem 'Emperor Tomato Ketchup' Klassiker (1996)), des ursprünglich für eine Skulptur von Charles Long geschriebenen 'Robot Riot', der Originalversion von 'Plastic Mile' (aus der Compilation 'Fab Four Suture' (2006)) sowie der Demoversion von 'Ronco Symphony' (aus dem 1993er Minialbum 'The Groop Played "Space Age Batchelor Pad Music').

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

repressed !

It's no understatement that London Grammar's forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio's innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. 'That's how this all started,' says Dan, 'and it's always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.'

Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation's KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele's 21), joining them to master.
Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building - as you would expect from London Grammar - from nothing, from the barest of bones, Hannah's soaring vocals propels the song to its crashing climax.
More than delivering on their promise, London Grammar's electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

repressed !

Now a frm favourite in many a DJ's record bag, Nigerian disco-boogie king Steve Monite's hit Only You' (featured on Soundway's recent Doing It In Lagos' compilaton), is given a rework by Sofrito's own Frankie Francis.
On the B-side, Nick The Record teams up with Idjut Boys' Dan Tyler to take on Haf Deo' - a beautful taste of breezy tropical Congolese pop from Tabu Ley Rochereau.

A chiming guitar, vibes on full and that heady
Motown / Ric Tic drumbeat with a falsetto vocal…
what’s not to love?
 Originally released on Kapp in 1966 and often
bootlegged, copies go for in excess of £100 for this
excellent, driving floorfiller.
 The Hesitations have a few Northern nuggets to
their credit - ‘Soul Superman’ is right up there with
the best.
 Backed with the super bluesy vocal of the
legendary Bobby Bland on an aching tale of loss
and regret.
 A slow smoochy groove with lyrics of genuine
heartache… and all this with a resilient slow
motion dance beat and some exquisite brass
breaks.
 Featuring a gorgeous vocal-only drop out, it’s a
triumphant return from the man who also released
the beautiful ‘Shoes’.
 Both sides remastered for sprung dancefloorshaking longevity.

Dynamite Cuts takes a different move from the funk & soul and is proud to be able to press for the first time on 7” vinyl, two killer rock club tracks. Our A side is the powerful up-tempo “Elegy” a funky love song, with steaming guitars and heavy groove, massive club track back in the day! On the flip is the “The Kettle” heavy rock groove sampled by Fat boy slim for “Ya Mama”
Perfect for all good music collectors

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

2022 repress, 45 rpm
incl. download code

Second Woman is a new collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of the renowned Telefon Tel Aviv. As one would imagine, Second Woman is a nonpareil debut of futuristic electronic music fusing the coveted genetics of the duos respective previous endeavors into an alluring new enigma of ASMR-inducing kaleidoscopic dub. Second Woman is a fully realized entity; a well-crafted sound world and a refreshing shared effort which is inspiring in its purity and painstaking in its design.

The opening "100407jd7" wastes no time exhibiting mastery in both sound and structure, contorting the frequency spectrum into a psychoactive mirage with its mutating tectonics and vaporous tone clouds. Cuts like "200601je6" and "700358bc5" are bar-raising examples of veteran craftsmanship and vision, refining and reengineering the blue prints of their early works to create an original and dynamic album. The deliberation and control over every particle is obsessive, but the end results of each individual track unfold with an organic temperament unparalleled in a grid-locked world of DAW shaped musics and rat's-nest modular aleatory. Words fail where essential sonics are concerned, and this vital new creation speaks for itself.

Killer Deep House EP, riding the slim line between a strong groove and deep sounds by L.D.F & Javonntte on this limited 12” Vinyl Release. Don't sleep on this. Will sell out quickly.

The debut album from Jack Flanagan, currently best known for his work as a member of the Mystery Jets. ‘Jack Rides The Sky’ is a magical coming of age record that comprises of 12 tracks written over the last decade, some finished and some left as initial sketches of ideas. As brutally honest as it is escapist and romantic, ‘Jack Rides The Sky’ is a body of work that signals the arrival of a unique, poetic talent finally stepping out on his own and releasing the extraordinary songs that have been parked on his laptop for the last 10 years.

Sarah Brown releases her debut album ‘Sarah Brown Sings Mahalia Jackson’ on 20th May 2022, preceded by a new single ‘Walk Over God’s Heaven’ on the 6th May. The record sees Sarah offer her interpretations of some of the classic tracks of arguably the most famous gospel singer of the last century who gave Brown hope and sanctuary through hard times faced over the years. Having recently appeared on Radio 4’s Woman’s Hour performing her debut single ‘I’m On My Way’, she is currently on tour with Simple Minds with whom she has been playing with for the last 15 years.

Sarah explains: “For as long as I can remember, Mahalia Jackson with her fever pitched performances have been a soothing note to my tapestry. At 10 years old, I remember hopelessly trying to sing along to her bellowing thunder of a voice. In my bedroom I would become her. I chose these songs because they tell of my story. Growing up in a Caribbean home to parents who were a long way from their home. Anger and fear were the two prominent emotions that I lived with.

The style I was trying to achieve was influenced by early jazz, blues and the spirituals. I am happy with the sound/style of the album. It was always going to be an experiment but I had no idea that it was going to sound as good and as authentic as it does. ‘Didn’t It Rain’ as a jazz feel. ‘Nobody Knows’ as a spiritual feel then it goes into swing jazz. ‘Walk over God’s Heaven’ as a hint of rock & roll with a bit of early swing.”

You may not know Sarah Brown’s name but you’ll definitely have heard her voice. From her collaborations with the likes of George Michael, Stevie Wonder, Duran Duran, Simply Red, Roxy Music, Pink Floyd, Simple Minds … Sarah Brown is one of the most prolific and in-demand vocalists in the world. Jim Kerr from Simple Minds comments: “In a sane world Sarah’s colossal talent would ensure that she would be front of stage every night, so I would be in the front row. Every night. I am her biggest fan after all”

Mahalia Jackson (October 26, 1911 – January 27, 1972) is widely considered as a major influence on Mavis Staple, Little Richard, Aretha Franklin, Sam Cooke, Donna Summer, Ray Charles, and a civil rights icon (Malcolm X noted that Jackson was "the first Negro that Negroes made famous”, Harry Belafonte stated "there’s not a single field hand, a single black worker, a single black intellectual who did not respond to her”, and it was Mahalia who prompted Dr. Martin Luther King, Jr to improvise the ‘I Have a Dream’ speech.