Search:6 th studio

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

Vor zwanzig Jahren veröffentlichte Matt Elliott (auch Third Eye Foundation) Drinking Songs, den ersten Teil einer bedeutenden Trilogie düsterer Folk-Alben mit acht Songs, die bis heute die meistgehörten auf Streaming-Plattformen sind und von den Fans des aus Bristol stammenden Musikers hoch gelobt werden. Drinking Songs ist eine tiefgründige Erkundung des menschlichen Zustands und eine Reise durch die unzugänglichsten Ecken der Seele. Zur Feier des 20-jährigen Jubiläums des ikonischen Werks präsentiert Matt Elliott nun Drinking Songs Live 20 Years On, eine Sammlung alternativer Versionen, die er als Trio live aufgenommen hat.Was Matt Elliott auszeichnet, ist seine Fähigkeit, verschiedene Stile miteinander zu verschmelzen, indem er kammermusikalischen Folk mit osteuropäischer Kabarettmusik mischt und gleichzeitig seinen Hintergrund in der elektronischen Musik, insbesondere seine Beherrschung von Sampling und Effekten, in den Dienst des Songs stellt. Nach mehreren hundert Konzerten in ganz Europa und sieben Alben präsentiert Matt Elliott nun Drinking Songs Live 20 Years On und lässt dieses bahnbrechende Album wieder aufleben. Aufgenommen im L'Autre Canal in Nancy, wo der Engländer seit einigen Jahren lebt, enthält dieses Album bisher unveröffentlichte Trio-Versionen, mit Musikern, die ihn regelmäßig auf der Bühne begleiten: Anne-Elisabeth de Cologne (Kontrabass) und Barbara Dang (Klavier). Jeder, der ihn schon einmal solo oder mit diesem Trio erlebt hat, weiß, wie gerne Matt Elliott auf die Stücke von Drinking Songs zurückgegriffen hat. Diese Zusammenarbeit geht über die Studioversion hinaus und fängt die rohen Emotionen eines Matt Elliott ein, der mit 50 Jahren auf dem Höhepunkt seiner Kunst zu sein scheint. Unabhängig davon, ob man die Studioversionen kennt oder nicht, muss man vom ersten Track an gefesselt sein, einer Verflechtung, einer Überlagerung der ersten beiden Tracks des Originalalbums: ,CF Bundy / Trying to Explain". Siebzehn Minuten, größtenteils instrumental, wunderbar zu Tränen rührend, vor Milz und Absinth triefend. Indem er seinen Drinking Songs zwanzig Jahre später neues Leben einhaucht, hat Matt Elliott uns ein kostbares Geschenk gemacht: die Möglichkeit, Drinking Songs zum ersten Mal wieder zu hören. Erhältlich als 2LP sowie CD!

Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.

In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.

The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.

With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

DJ Plead and rRoxymore with a debut collab of rhythmelodically restless productions, infusing limber, freewheeling styles with subtly psychedelic balearic melodics.

After meeting for the first time in 2019, Hermione Frank and Jarred Beeler got together at Frank's Berlin studio, slowly sculpting fractal geometries before finally adding the finishing spit and polish at Beeler's parents’ house in Sydney. Marking some of the first original material from either in a minute, the EP knits the duo’s rhythmic fascinations in three ways.

‘Celestial’ splices a rolling 4/4 with quicksilver polyrhythms and zippy melodic motifs swept into hand-clap trills, imagining something like Olof Dreijer re-shaping Joe’s angular syncopations. ‘Read Wrong’ follows to foreground a thumb piano on a more pendulous, sub-weighted flex, inflected with DJ Plead’s signature palette of drum sounds and canny orchestral flashes at the right moments, dipping like D1’s more melodic works or that forthcoming Nídia & Valentina Magaletti pearl.

The duo save their most hard-hitting for last, sliding speedy, dembow-inspired geometries through green-tinted clouds of electronics on a UKF-compatible offbeat threaded with swooping subs and flighty flutes. The momentum never lets up, but the two producers manage to evoke a mood that's as suited to a late-nite solo thing as it is to peak time wreckage. In other words; deceptively effortless gear that hits harder the louder it gets.

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

'...Twice Shy' ist das vierte Studioalbum der kalifornischen Hard-Rock-Band Great White. Ursprünglich 1989 veröffentlicht, enthält es die größten Hits ihrer Karriere, ein Cover von Ian Hunters 'Once Bitten, Twice Shy' und 'The Angel Song', die auf Platz 5 bzw. 30 der US-Sinlge-Charts landeten. Das Album erreichte nach wenigen Monaten bereits Doppel-Platin Status und wurde für einen Grammy Award nominiert. Nun ist das Album endlich wieder auf Vinyl erhältlich!

Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.

Having worked silently in her sonic philosophy for almost a decade, vocalist, music producer and Dj Telva has launched her music label byt’, starting with the publication of her debut album. The album, ‘Revelation’, opens with an unusual and experimental offering, which sets the tone for the label's subsequent eclectic and unexpected releases. The compilation of 10 tracks, has been documented for 5 years through an experimental vocal, instrumental sonic journey, that is composed of Telva's life experiences during this period.

Telva is a vocalist, producer and only vinyl Dj based in Berlin. Defining her path through art in every sense of it by turning passion into a way of life, she has been playing and collecting records as main craft since 2016. Followed by uninterrupted hours in the studio, her creations and sonic philosophy, aka record label byt’, have been materialized by the wide range of influences she’s been absorbing along her way as an artist, where different cultures, scenes, and places have shaped and influenced her understanding and projection of her musical vision. Her love for the underground movement and the deep work in silence have made her music shows special and respected. For listeners and dancers, her well-chosen exposure is an unexpected experience. Her purpose is to offer quality music based on eclectic diversity, that surprises the audience with the love it spreads through sound, aiming to touch their hearts. ‘Music is a channel of transmission in where to materialize one’s lifetime vision’

Byt' (быть in Slavic meaning 'to be' / pronounced 'beat') is a music philosophy, also known as a record label, focusing on the connection between music and artist as a primary form of communication and source of expression. It represents 'the music of the being'. 
 The meaning and purpose are to comprehend the concept of musical interpretation through the artistic vision of the person behind it, by appreciating the significance of conveying a life experience through sound, making a recognition on what is behind the music we listen to. The label will be composed of solo releases, sonic cinematic experiences, collaborations and other archives, spanning an unlimited wide range of genres, yet rooted mainly in electronic music.

The Nightstalker - Mystical sounds from the shadows of the night The Zurich duo The Nightstalker, consisting of producers Dan Piu and Popshop (Gary Rich), create a cosmos of sound that plunges deep into the darkness and unfolds an almost magical attraction.

After two acclaimed albums on the Berlin label Childhood Intelligence, they now invite us on a sonic fantasy journey with their new mini-album ‘Isoutopic Fantasia’ on World Wide Web Records.



With six tracks that oscillate between danceable darkness and playful, surreal moments, ‘Isoutopic Fantasia’ embodies a seductive fusion of mystical depth and bizarre beauty. The sounds are addictive and lead us through a musical dream realm where each beat reveals a new twist and the melodies unfold into sprawling, unexpected dimensions. A sonic fantasy carried by the shadows of the night, in which light and darkness unite in a hypnotic dance.



All tracks written & produced by The Nighstalker (Dan Piu & Gary Rich)

Mastering by Johanz Westerman at Ballyhoo Studio (NL)

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMYâ nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . It became the first Rival Sons album to achieve Top 20 status in the UK Album charts (peaking at #14). This very special anniversary edition includes the original 2 bonus tracks from the album’s 2014 Tour CD-Edition, first time on vinyl. Jay Buchanan’s voice is stunningly soulful whilst Scott Holiday’s signature guitars riffs,licks and solos elevate the sonic landscape that Rival Sons create to another level.

A next salvo of big people dubwise out of the ITAL COUNSELOR stable comes on this, the label’s first foray into the 7” format.

This relick of the legendary Black Brothers 1970s dub plate is perfectly crafted for dropping at the deepest of sound system sessions or right on your home hi-fi for some front room skanking. This is in no small part due to the pedigree of artists who contributed to its creation.

Hughie Izachaar first started in the reggae business as part of obscure UK band, Black Brothers, during the heady days of the late 70s and early 80s. Only known to have recorded two legendary dub plates, the band never committed their music to plastic. A multi-instrumentalist versed in the art of playing the melodica and guitar as well as singing, Izachaar went on to join the band, The Original Rockers, with whom he recorded the underground classic, “Mountain Rock.” Into the 90s and through the 2000s he has been heard across a number of 7”, 10”s, 12”s, and LPs on labels such as Reggae on Top, Jah Warrior, Inner Sanctuary, and King Earthquake.

On this release, he is reunited with the equally esteemed Jah Warrior who was responsible for Hughie’s high water mark showcase, “Can’t Take the Pressure” in 1998. Jah Warrior’s usual hard and strident steppers vibrations are in attendance here.

Uniquely, this 7” represents the first time Hughie and Jah Warrior have been combined with the third ingredient in this musical stew. Another long-time music industry journey man, Gil “Tuff Scout” Cang, augments the sound with additional production and remixing. A veteran of Studio One, Riz Records, and Tuff Scout, not to mention innumerable soul, acid jazz, and pop productions, Gil adds that “little way different” touch that has become a defining character of ITAL COUNSELOR productions.

As the saying goes: If you don’t know, get to know. Neither your ears, your skanking feet, or your soul will be disappointed!

Recorded by long-time collaborator and producer Elliot Heinrich at the band’s own Pony Studios in East London, it’s clear that Tempesst spent time developing a sound tailored to the subject matter. Parallels can be drawn from the great alternative writers of the nineties (Stipe, Buckley, Cocker) by way of the storied lineage of the dark narrators (Cohen, Waits, Cave). “My process is mostly reactive, like writing a journal and reflecting on what I watch, read and listen to,” says Lyricist Toma Banjanin, citing “The Myth of Sisyphus” by Albert Camus as an influence of the record. Forbidden Fruit showcases a new sound, shedding their previous Spector-esque production for a modern hi-fi approach. Tempesst maintain a surrealist soundscape with precision, conjuring images of René Magritte: layered sounds within sounds to draw the listener deeper. They lean into chaos, with fuzz-infused, reverb-laden guitars that drone through the record indifferent to harmony, restrained by a swampy rhythm section. Tempesst reach for the bright lights of the expressionist late eighties while descending into the rawness of the early nineties.

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen.

Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt.

Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

Discover the essential high tempo Singeli Sound that currently echoes throughout Dar es Salaam in Tanzania. This accompanying release to the mini-documentary on the scene from NTS, focuses on two of the central studios in the scene and their singular takes on Singeli; with Pamoja, helmed by DUKE, and the inimitable DJ Sisso

2024 Repress

“Live at Sound City” is an instrumental collaboration between bassist Pino Palladino, guitarist/multi-instrumentalist/producer Blake Mills, and LA-based saxophonist Sam Gendel. Recorded in one day at the legendary Sound City Studios in Van Nuys, the EP presents new versions of compositions from Palladino & Mills’ Grammy-nominated 2021 album “Notes with Attachments” in an intimate chamber trio setting. Across four tracks, the accomplished trio explores common musical vocabularies, then goes about the work of defamiliarizing them in search of something new, blending the sounds of West African and Cuban music, jazz, R&B, English folk, pop, and beyond.

Pino Palladino is a Grammy Award winning songwriter, producer and bassist who helped create the rhythm-section sound of D’Angelo’s Voodoo and Black Messiah, and over a four-decade career has worked with artists including Keith Richards, Erykah Badu, Eric Clapton, Nine Inch Nails, Questlove, John Mayer, Paul Simon, Jeff Beck, Herbie Hancock and Adele.

Blake Mills is a two-time Grammy Awards Producer of the Year nominee. He has released four solo albums and produced and recorded with artists such as Alabama Shakes, Fiona Apple, Bob Dylan, John Legend, Perfume Genius, Jim James, Moses Sumney, Laura Marling, Phoebe Bridgers, Cass McCombs, The Killers, Sara Bareilles, Weyes Blood and Randy Newman. His most recent album Mutable Set, released last year, was praised by Pitchfork as “a hushed collection that floats through the subconscious like a tender dream,” and earned their Best New Music title.

Sam Gendel is a musician living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes collaborations with a wide range of artists including Ry Cooder, Laurie Anderson, Mach-Hommy, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world.

This is one of Ray Pérez’s most highly sought-after albums, not only for its strong salsa dura anthems and funky boogaloo numbers but also for its brave, quirky eclecticism and youthful, rebellious spirit, all of which are reflections of “El Loco” Ray’s unique genius, making him a beloved figure in rare record collector circles everywhere.

The original is not that easy to find today and carries a hefty price. Thankfully, it has been remastered from the original tapes, fully licensed, with the original artwork, preserving and presenting the legacy of this great Venezuelan music for today’s generation.


DESCRIPTION
The late 1960s was a very busy time when Pérez was juggling several different studio bands: Los Dementes, Los Calvos and Los Kenya.

The daring experiment Pérez created with Los Calvos laid the basis for Los Kenya, an actual working band that released six albums between 1968 and 1972. Despite being titled “Los Kenya, Vol. 2” because it was the second released by Discomoda, the record actually represents Los Kenya’s third album, and is perhaps the most mature, well-rounded venture in the lot.

In February 1969, on Discomoda, came “Los Kenya, Vol. 2” focused on the upcoming carnival season and was calculated to compete with rival bands Federico Y Su Combo Latino and Sexteto Juventud for the plethora of gigs offered at that time of year.

The album, like all Ray Pérez releases of the time, is short and powerful, with five tracks per side, showcasing a variety of singers, genres, rhythms, influences and arrangements, making this one of his more eccentric and interesting efforts. 1960s California “sunshine pop” rock (often referred to as ‘surf’ on Los Kenya records), guajiras, boogaloos, descargas and even Mexican mariachi corridos are all added to the pot of salsa cooked up by “El Loco Ray” and his band.

The album has been rescued from obscurity and lovingly restored, remastered from the original tapes, fully licensed, with its original artwork intact, preserving and presenting the legacy of this great Venezuelan music for today’s generation of global salsa dura fans.

First time 7” reissue of this mega-rare Bobby Marin produced Latin funk gem.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’, while 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ. Both are DJ favorites and the original 45 fetches large sums, if you can find a copy.


DESCRIPTION
Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers?

One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. One of his best and most obscure productions was credited to Los Africanos, a studio project featuring Chico Mendoza and New Jersey-based band Ocho.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’ and was originally released in 1974 on Tito Rodriguez’s label TR Records. On the B side, 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ.

Both are DJ favorites and the original 45 fetches large sums, if you can find a copy. First time 7” reissue.

WRWTFWW Records is happy to announce a new collaborative album between Polish producer, multi-instrumentalist and sound engineer Albert Karch (notably known for his superb 2019 album Celestially Light featuring Ichiko Aoba) and Irish ambient master and label’s favorite Gareth Quinn Redmond (Ar Ais Arís, Laistigh Den Ghleo, Umcheol albums from the WR catalogue). The 6-track LP comes as a limited edition of 300 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes. It is available in digital format as well.

Recorded in at Albert Karch’s studio in Warsaw in January 2023, Warszawa is conceptually rooted in the reason the two artists met in the first place: the work of Japanese composer Satoshi Ashikawa (Still Way - Wave Notation 2) who sought to compose a time that was stationary. Sparse in approach but sharp with intention, the 6 pieces of the collaborative album were sculpted with precise and floating use of piano, drums, synthesizers, and strings. The result is gentle but emotionally deep minimalistic ambient, reassuring environmental music with an indescribable Mark Hollis touch, also an artist whose worked influenced the recording sessions.

Gareth Quinn Redmond’s previous albums, Laistigh Den Ghleo, another ode to the work of Satoshi Ashikawa, Umcheol, mixing ambient with traditional Irish music instruments, and his tape loops wonder Ar Ais Arís are still available on WRWTFWW Records - complete the collection now!

Warszawa by Albert Karch and Gareth Quinn Redmond is dedicated to the memory of Satoshi Ashikawa.