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Die letzten 3 Alben im Katalog der Band werden zum ersten Mal seit ihrer ursprünglichen Veröffentlichung wiederveröffentlicht auf 140 gr. black Vinyl.

Little Creatures, ursprünglich 1985 veröffentlicht, enthält die Klassiker "And She Was" und "Road To Nowhere".

True Stories, ursprünglich 1986 veröffentlicht, enthält "Wild Wild Life" und "Love For Sale".

Naked, das ursprünglich 1988 veröffentlicht wurde, enthält "(Nothing But) Flowers" und "Blind"

Die multidimensionalen Künstler:innen und Produzent:innen yeule kündigen ihr neues Album, „softscars“, an, das am 22. September 2023 über Ninja Tune erscheinen wird. „softscars“ repräsentiert eine neue Richtung für yeule, da sie weichere Texturen und körperlose Arrangements erforschen, die ihre ätherischen Vocals in den Vordergrund stellen. Das Projekt untersucht die Anatomie ihrer lang gehegten emotionalen Wunden für ihr bisher verletzlichstes Werk. Obwohl die Thematik schwer und geheimnisvoll ist, strahlt das Projekt, das von yeule und ihren Kolleg:innen Kin Leonn geschrieben und produziert wurde, mit zusätzlicher Produktion von Mura Masa und Chris Greatti (Yves Tumor, Willow Smith) ein Gefühl der freudigen Katharsis aus. Angetrieben wird das Album von yeules sich verändernden Vocals, die mit all ihren Ecken und Kanten und ihrem eindringlichen Flüstern sicherer denn je klingen und den unvollkommenen Prozess der Heilung widerspiegeln.
Das neue Album folgt auf das von der Kritik gefeiertes Album, „Glitch Princess“, aus dem Jahr 2022, das von Pitchfork mit dem Prädikat „Best New Music“ ausgezeichnet wurde und auch hierzulande sehr wohlwollend abgefeiert wurde, u.a. mit 5 von 6 Sternen im Musikexpress, mit 4 von 5 Punkten bei laut.de und 8 von 10 Punkten bei Plattentests. yeule machen sowohl Musik als auch visuelle Kunst, das Projekt wurde ins Leben gerufen, um als Portal oder Spalt zu fungieren, der es ihnen ermöglicht, ihre Kunst der Außenwelt mitzuteilen, während sie gleichzeitig in ihrer inneren Hülle geschützt sind. yeule wurde als Manifest ihrer eigenen Identitäten konstruiert, in denen sie immer Zugang zu multiplen Avataren und der Freiheit hatten, sich nach Belieben zu verändern oder zu verformen - Trost durch die Verkörperung von wandelbaren, chamäleonartigen Vielfältigkeiten.

The music of Justin Walter veers between nebulous and numinous, coaxed from the translucent tonalities of his signature instrument, the EVI (Electronic Valve Instrument).
Destroyer, his latest, and third for Kranky, marks his most multifaceted work yet. Inspired by minimalistic urges (evading grandiosity, condensing scope, embracing spatial restraint) tempered with the drama of triptychs (becoming, destruction, aftermath), the album’s 11 tracks thread a keening suite of aching, opaque beauty, traced in absence and breath.
First begun in the no man’s land summer of 2020, Walter gradually amassed nearly two hours of demos, drafts, and ideas, then steadily whittled them to their essence. Destroyer enlists the sounds of a recently restored pump organ, adding pulses and quaking texture, but otherwise the album is a shimmering showcase of the EVI: miasmic, melodic, intuitive, infinite. It’s music of fraught devotion and uneasy peace, questing yet languorous, forever rapt and untethered.

Lil Uzi Vert’s long awaited ‘Pink Tape’ album is available now to stream on all platforms. It will be released physically on CD & Vinyl on the 20th October with pre-order going live on the 17th July. ‘Pink Tape’ features the hit singles ‘Just Wanna Rock’, ‘Flooded The Face’ & ‘Endless Fashion (feat. Nicki Minaj)’.

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."

Rare late 80s reggae/dancehall heat coming yet again on DINTE sub-label 333. This time it's the turn of Hugh Maddo's Pop Style LP. Recorded in Jamaica at Byron Lee's Dynamics & Herman Chin-Loy's Aquarius studios for the Bronx-based Jamaazima label in 1987, it is issued here under license from co-producer and label owner, Nami Harmon. The record features a host of celebrated and renowned musicians incl. Winston Wright, Bobby Ellis, Carlton "Santa" Davis, Dwight Pinkney, Willie Lindo and Mikey "Boo" Richards amongst many others - alongside the sublime vocals of Killamanjaro's Hugh Maddo aka UU Madoo. A must.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

The highs is Mike Stud’s first album to be officially released under his new name and style of music. He now goes by the name “mike.” This is the first album of the upcoming trilogy he has in the works. “the highs, the lows and the inbetweens.” These are all part of the KEEPGOING trilogy under his new name and style.

GRAMMY Nominated R&B singer & songwriter Eric Bellinger kicked off 2023 much like he kicked off 2021, with a hit album. For the first time ever, 1-800-HIT-EAZY Line 1 & 2 will be available on vinyl as a double album release. Executive produced by a literal hit maker in Hitmaka, both albums feature Eric's signature crooning voice over rich & silky R&B production. At 14 tracks per album, standout singles from 1-800-HIT-EAZY Line 1 include "Hit Eazy," & "Only You," while 1-800-HIT-EAZY Line 2 includes infectious songs such as "Curious (feat. Cordae & Fabolous)," "Decide," "Obsession (feat, Muni Long) - Remix," & "Sum 2 See (feat. Blxst)." Features across the two albums include Tink, Muni Long, Blxst, Cordae, Fabolous, Rahkay, Kalan.FrFr & Chrishan. Pressed on Aqua & Orchid Smash Vinyl

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

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

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

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

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

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

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

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

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

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

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

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

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

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Splash Blue is honoured to present Incognito's latest album, Into You, a 16-track masterpiece of jazz-funk and soul. The album features original compositions, all with the signature sound of Incognito. Led by the production of band leader and multi-instrumentalist Jean-Paul “Bluey” Maunick, Into You showcases the band's incredible musicianship and lush soundscapes. Along with Bluey, the album features the band's new vocalists Natalie Duncan & Cherri V alongside renowned vocalist Tony Momrelle. Into You is the perfect blend of old and new, and will captivate fans of Incognito and soul music. The album is available on Double Vinyl only currently.

2023 VINYL REPRESS.
The third full-length release for Portland, Oregon-based LIZ HARRIS.

Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects.

Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings.

These are the future soundtracks to love, despair and ultimately, hope.

“This remarkable album is actually what I personally always wanted 4AD records to sound like, only they never quite delivered the hazy pleasures their beautiful sleeve art promised.”—Pitchfork (8.2)

2023 VINYL REPRESS.

IN HER OWN WORDS...

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

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

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

2023 Repress!

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

Some words from the label:

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

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

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

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

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

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

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

Man With A Gun is the debut long player from Singaporean prog and funk group Funkgus. It has a famously enigmatic toxic blue jacket that lurks you in and musically it is no less intriguing. As well as a passionate cover of King Curtis's 'Memphis Soul Stew' there are plenty of supremely psychedelic sounds. The opener is steeped in funky bass riffs with rock-tinged drum breaks and plenty of raw vocals and from there the grooves come thick and fast, often with plenty of texture and charismatic vocals such as on 'Spill The Wine' and the leggy, expressive sounds of 'Everyday People' with its twisted wah wah guitars.

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

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

Als Support der Dropkick Murphys Tour im Frühjahr 2023 brachte Jesse Ahern tausende Fans dazu, seine bis dahin unveröffentlichten eingängigen Refrains lauthals mitzusingen. Hinter dem US-Folk-Musiker ein riesiges Banner mit den Worten 'ROOTS ROCK REBEL', dem Namen seines neuen Albums, das von Ted Hutt (Dropkick Murphys, Gaslight Anthem) produziert wurde, und am 15. September über Dummy Luck erscheinen wird.

Nach längerer Funkstille, Pandemie und Neufindung meldet sich Timber Timbre mit einem neuen Studioalbum zurück, das die elektronischen Elemente des Vorgängers mit einer cineastischen Weite verbindet und Inspiration von Sun Ra, Dorothy Ashby und Alice Coltrane vermuten lässt. Nach Mitarbeit als Produzent für verschiedene Alben, findet sich Kirk Taylor aka Timber Timbre mit Michael Dubue in Quebec wieder. Beide verstehen sich auf Anhieb und es entsteht ein Album mit Songideen der letzten Jahre. Die warme Klanglandschaft, das ironische Augenzwinkern und die cineastische Leichtigkeit verleiten zum Verlorengehen und machen 'Lovage' zu einer Platte, die man immer wieder neu auflegt. Ein Album für die Sammlung.

Discover the history of Hip-Hop with this brand-new 3-vinyl box set! The Gems Of Hip-Hop Culture - FEAT. - THE PHARCYDE - AFRIKA BAMBAATAA - MOS DEF - GRAND MASTER FLASH - RZA - CAPONE-N-NOREAGA - MONIE LOVE - DIZZEE RASCAL - GRAND PUBA - BRAND NUBIAN - BIG L - 2PAC...

Das Debütalbum von GENN, dem Quartett aus Brighton mit maltesischen Wurzeln, ist ein hart erarbeitetes Statement der Entwicklung aus den unterschiedlichen Einfluss- und Identitätssträngen der Band, von Post-Punk über Psychedelic- und Prog-Rock bis zu Jazz und Blues, ein fesselndes Geflecht voller Ambitionen. Es knüpft an ihre Debüt-EP Liminal (2021) an, die allen Widrigkeiten der Pandemie zum Trotz triumphierte (BBC Radio 6, DIY, Gigwise, Spotify Shockwave-Playlist). Erfolg besteht für GENN darin, den Sturm zu meistern und gleichzeitig einen Fluchtweg zu finden. UNUM ist ihr Fluchtauto und jetzt sind sie bereit, den Motor zu starten.

Joris Feiertag is a Dutch producer and drummer from Utrecht in the Netherlands who makes music that is a finely balanced blend of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba. Roots is his third album on revered German imprint Sonar Kollektiv. The LP features not only a plethora of vocalists from across the globe, but also sees the producer playing with obscure samples and sounds, as he attempts to discover a new direction and find that sweet spot between dark and light; major and minor; new and old; uplifting electronica and soul

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

Auf „Blame It All On Love“, Poolsides viertem Studioalbum, verlässt Jeffrey Paradise (aka Poolside) seine eigene Komfortzone und taucht in die Tiefen seiner eigenen kreativen Stimme ein. Die elf Tracks sind funky, gefühlvoll, entspannt und voller Hooks, die Poolsides Sound zu ergreifenden Pop-Höhen erheben. Anstatt erneut seine elektronischen Fähigkeiten zu demonstrieren, markiert die aalglatte Produktion eine Rückkehr zu seinen Live-Musik-Wurzeln und findet Leichtigkeit in einfachen und strahlenden Klangschichten. Es ist ein wahres Produkt all der Orte, an denen er war, und der langen und abenteuerlichen Reise, die er unternommen hat, um zu diesem Moment zu gelangen, an dem es nichts mehr zu kämpfen oder zu beweisen, sondern es nur noch perfekte Grooves gibt.

Mit elf bisher unveröffentlichten BBC-Session-Aufnahmen und allen fünf Songs der ersten beiden Creation Records-Singles fängt 'Reverberations (Travelling In Time)' perfekt ein, was viele für eine entscheidende Ära einer der wichtigsten britischen Gruppen halten, die eine ganze Reihe von aufstrebenden Bands beeinflusste, allen voran The Stone Roses. Es ist eine Sammlung, die einen Schnappschuss der jugendlichen Unschuld und ungezügelten Leidenschaft bietet, die ihre frühen zweiminütigen Indie-Pop-Abenteuer kennzeichneten.

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


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


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


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


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

Mo" Horizons enter their seventh album chapter andremarkably, celebrate 25 years of their exultant andglobally enriched, forward-thinking, electronic sound. Featuring a cast of guest singers, including Ghanaianlegend Gyedu-Blay Ambolley, Mango, is a fiery andsample-heavy blend of future-funk, balearic, highlife,Brazilian drum "n bass and lo-fi hip hop, set to bereleased on their long-standing label Agogo Records.

Spanning over three decades, German DJ andproduction duo Mo" Horizons, led by Ralf Droesemeyer,& Mark Wetzler have been a relentless force on theglobal groove scene. For 25 years, the pair havecontinued to grow their international audiences,testament to remaining on-point, ignoring the fashionand tribalism of scenes like big beat and broken beat,that thrived but then morphed and went off radar.

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

Nun sind sie mit verändertem Line-up (für Ken Owen kam Daniel Wilding; Amott wollte an der Reunion nicht teilnehmen) wieder da
und präsentieren mit „Surgical Steel“ ihr neues Album, das den Sound der früheren Alben perfekt zusammenfasst. Sämtliche
Schaffensphasen der Band werden erstklassig berücksichtigt, entsprechend bedient und dürften jeden Fan zufriedenstellen.

Catalogue number 6 from Dedicate highlights a reissue from a timeless beat mixtape dropped in a pre-streaming era in 2012. The original 2rbostatic was released as a handmade USB flash drive/Cassette tape hybrid in combination with a free download. For the first time now the remastered version will be on vinyl.

On 50 minutes playtime Kollege Schnürschuh expresses his affection for Hip-Hop with 27 (almost) exclusively instrumental tracks representing the full spectrum of musical influences in all shapes and forms. A short entertaining journey through MPC sampling and synth sounds with an extraordinary love for details.

BLUE-BLACK COLOURED VINYL! LIMITED TO 100 UNITS
Irakli’s new album is due to come out October 2023 on Live at Robert Johnson. Mechanical Moon is a retrofuturistic adventure of beautiful compositions and pulsating rhythms which are weaved together over the span of eight tracks.

We are immersed into evocative atmospheres, full of intricate textures. This is techno where you close your eyes and board an ocean liner that slowly rises and floats towards the moon.

Happy human with sad eyes roamed the neon-lit streets of the artificial island. This section of the metropolis had been designed as a necessity more than any other amenities. It had been allocated a budget surpassing the one for waste management in a city housing over a billion inhabitants.

Society had managed to eradicate love, yet it still grappled with untamed primal instincts such as dancing, sex, or violence. The island provided a discreet haven, away from the prying eyes of telescreens that silently stared into all souls. Similar to Las Vegas centuries ago, it was a safe space where anything was fair game.

Once there, night time lasted all day. Everything retained an analog essence. Music emanated from vintage record players. Amidst the laughter and tears, the artificial glow of the mechanical moon had become the last reminder of life outside.

A life so repetitive that he had been consumed by the desire to transform into a machine or a human satellite. Yet, breaking the cycle in such a manner remained impossible. And so, he wandered for hours on the island, among the weary faces.

Happy as one could be.

Legendary Dublin punk band formed in November 1978 by Maurice Foley (guitar/vocals), which had a number of iterations before disbanding in 1981. The Threat built up a following in Dublin and maintained a heavy reputation through the 1979 and 1980. Playing the legendary Dandelion on a couple of occasions towards the end of 1979 and became friendly with members of the Virgin Prunes and U2. Stano, another friend of the band, bought a synthesizer, purely as a sound generator, and joined them. As a nonmusician, his synth added noise and texture to the band's sound and brought out their experimental side.

This tape of the band's April 1981 gig in Limerick came to us a few years ago from one of the band members drummer Stephen O' Brien and it's been remastered for the perfect cassette experience.