Suche:ac in records

Limited to 300 copies. The Groove Connection formed in Medway, Kent during the early '90's, amongst the Acid Jazz heyday, playing clubs, pubs and festivals up and down the land with their urban jazz-funk grooves. The band comprised of usually six to eight members over the years, including Mark 'Bertie' Gilbert, the former (initial) bass player from The Milkshakes, and was originally an instrumental project, with vocals added later giving the band further appeal. Recording/releasing their first CD EP in 1996 (In Full Pursuit), described by Blues & Soul as 'an impressive debut set', The Groove Connection also released a 7" vinyl single in 1998 (What It Is), which was produced by respected DJ and percussionist Snowboy. A year later, their first album 'Infiltration' was released. All releases were via their own NeuJaz label. As well as working with Snowboy, the band also supported Jamiroquai twice in 1997 (at Finsbury's Jam in the Park and the Phoenix Festival), as well as playing to a full house at the Jazz Cafe, Camden on many occasions, and the band toured the UK as part of the Messin' Around Jazz Cotech collaboration. In 1999, the band found themselves on the Verve Records' released compilation 'Messin' Around Presents Root Down', alongside Lalo Schifrin, Jimmy Smith, The JBs, and Roy Ayers to name just a few. In 2001 the band recorded, and released their second album 'Back To Brooklyn', introducing vocalist Laura Knight and guest hammond virtuoso Gary Baldwin, a ten-track full-length, CD-only release. Other tracks were recorded in the same session… Two tracks that didn't make the last album were 'Can You Hear Me' and 'When I'm With You', both vocal filled, and we've decided to capture them onto two continuous 'grooves'.

Sophisticated, suave, and masterfully composed, this 45 is a sonic love letter to late 60s and early 70s soul, nodding to the giants of the genre and bowing to its unsung heroes. With inspiration from artists like The Moments, Baby Huey, The Delfonics, and especially the late Curtis Mayfield, this 7" is drenched in the era-defining tone that can only come from its origins on analog tape. From the first notes of the first track "Beck & Call", the songs shimmer and glow from one moment to the next like a summer's drive with the windows down, with a steady cruise anthem like "Daydreaming" floating by like a cool breeze. Friends since childhood, The Sextones are Mark Sexton (guitar, vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Christopher Sexton (piano). Having known each other for so long, their musical chemistry is effortless and forms the foundation of the band's longevity and creative workflow. Despite their bond, each member has been able to channel their creativity into other acclaimed groups_Alexander and Mark with their cinematic-soul project Whatitdo Archive Group, whose acclaimed debut LP The Black Stone Affair was released on Record Kicks in 2021, and Daniel with the soul/jazz group Delvon Lamarr Organ Trio (Colemine Records). Flexing their creative muscle individually has only strengthened The Sextones' collective songwriting ability and heralds their formidable return to the spotlight. With their recent signing to Record Kicks, the self-made heroes of soul begin a new chapter in their sonic journey, ready to scale new heights and plumb deep emotional depths in service of the genre they love.

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.” Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative. “As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording. The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance. “Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK // “Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.

Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."

Fiddlehead's third album Death is Nothing to Us is a defiant, new chapter for the band. Since 2014, the Boston-based group have been honing their unique sound, bringing together the energy of hardcore, the anthemic melodies of `90s alternative, and the unbridled passion of Revolution Summer era emo. Their previous albums, 2018's Springtime and Blind and 2021's Between The Richness, dealt heavily with grief from different perspectives, and now their latest feels like a de facto culmination, drawing together many of the catalog's through-lines sonically and lyrically. The band again teamed with producer Chris Teti for their third record, and his punchy production captures Fiddlehead's live energy while showcasing the massive guitars and undeniable catchiness that makes their music so immensely satisfying. The album's concise 27 minutes sound like a natural extension of all of the band's strengths, but is glued together by vocalist Pat Flynn's singular tuneful roar. Flynn, since his time as the vocalist of Have Heart and now as Fiddlehead's frontman, has earned a reputation as one of hardcore's most thoughtful lyricists. He interweaves his ruminations on life, death, and all the joy and tragedy in between with references to Roman philosopher Lucretius; the author Jean Améry; other musicians like Bad Brains, Alex G, or Wire, and even references to the band's own back catalog. The humanity across Death Is Nothing To Us is palpable in every note. It's the kind of art that observes pain with real honesty rather than prescribing a solution for it-and in doing so, inadvertently offers some sense of hopefulness. The album finds Fiddlehead so deeply delving into the pain, confusion, nuances, and contradictions of sadness-so willingly wrapping their arms around a concept as existentially baffling as death itself-that they've created an album that is truly life-affirming. Death is Nothing to Us exemplifies so much of what makes Fiddlehead a special band: taking these heady, unanswerable questions and wrestling with them in a very earthbound way, all wrapped up in the urgent power of a three minute punk song.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.

Margaret Glaspy’s third album Echo The Diamond emerged from a deliberate stripping-away of artifice to reveal life for all its harsh truths and ineffable beauty. Informed by profound loss, the album finds the New York-based musician sorting through that pain to piece together indelible fragments of wisdom. Produced by Glaspy with her partner, guitarist/composer Julian Lage, it expands on the frenetic vitality of her widely acclaimed debut Emotions and Math. On the new album, Glaspy recorded with bassist Chris Morrissey (Andrew Bird, Lucius, Ben Kweller) and drummer/percussionist David King of The Bad Plus.

This vinyl begins with "Party People" an instrumental track that captures the essence of this artist, with melodies based on arpeggios, pianos and stabs, accompanied by small scratch cuts by hand from "Dj Ades"

On side B we hear “Olleum” this old school version that takes us back to 1986 with that vocal that surely brings back some nice memories “Sweetheart” covered before by great artists like Mariah Carey.

A delight that you should not miss, this edition of 200 copies, black label with matte black and shrink-wrapped sleeves.

Junges Blut bei Verve Records!

Wenn man als 23-Jähriger eine derart gereifte Musikalität als Pianist, Schlagzeuger, Komponist, Arrangeur und Bandleader an den Tag legt wie der Amerikaner Julius Rodriguez, muss man sich wohl hin und wieder auch noch die Bezeichnung ”Wunderkind” gefallen lassen. Nach einigen digitalen Singles legt er jetzt sein weltweites Albumdebüt auf dem Verve-Label vor, ein kraftvolles, facettenreiches Werk, das den Hörer von der ersten Sekunde an zu packen vermag.

Wie in der heutigen Jazzszene üblich, integriert auch Rodriguez’ Musik ohne Scheuklappen Elemente aus Jazz, R&B, Hip-Hop und Pop. Als Sideman hat er bereits mit Wynton Marsalis, Wu Tang Clan, Meshell Ndegeocello u.a. gearbeitet. 2021 führte er mit seiner Herbie-Hancock-Coverversion „Actual Proof“ Spotifys „Best Jazz Songs of 2021“-Playlist an.

Mit seinem Debüt ”Let Sound Tell All” dürfte Julius Rodriguez’ Jazz-Karriere jetzt den Turbo einlegen.

Dutch multi-instrumentalist Felbm returns with the conceptual album "cycli infini" : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process. The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert.

"The openness of Laraaji"s and Satie"s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit", says Felbm, real name Eelco Topper. While Topper"s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed. The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: "the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here... just in different shapes."

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Die Grammy-nominierte amerikanische Schauspielerin, Sängerin und Songwriterin erregte mit ihrem mit Platin ausgezeichneten Debütalbum „So Real“ erstmals 1999 Aufmerksamkeit. Es folgten Hauptrollen in Film + TV und eine Reihe weiterer äußerst erfolgreicher Pop-Alben. Für die Hauptrolle in der gefeierten TV-Serie ”This Is Us” erhielt sie Emmy- und Golden Globe-Nominierungen.

Vom Teenager ist Mandy Moore zur erfolgreichen erwachsenen Künstlerin gereift. Noch immer lässt sich prächtig streiten: ist sie eine singende Schauspielerin oder eine schauspielernde Sängerin? Fakt ist: Moores achtes Studioalbum „In Real Life“ ist erneut ein gelungenes, erwachsenes Pop/Rock-Werk und ein weiterer
künstlerischer Schritt für die inzwischen 37-jährige, die einst mit Teenage-Pop-Hits berühmt wurde.

Factory Benelux presents a limited (500 copies only) orange vinyl edition of Retrofit, the seventh studio album from post-punk trailblazers Section 25, originally released in 2010. First time on vinyl.

Recorded before the untimely death of founder member Lawrence Cassidy in February 2010, Retrofit saw cult Factory Records group Section 25 revisit key tracks from their 1980s back catalogue, remade and remodelled for the 21 st century using an appropriate mix of new and old technology.

‘Gathered here is a selection of Section 25 faves, re-recorded and re-thought. The idea is born from their invigorating live set – compelling use of technology to lift them (almost) free from the familiar shards of 80s underground. Shockingly, this newattack works. All this tightening appears to have tugged the band into a sense of Now, gloriously at odds with the contemporary norm’ (The Quietus)

‘Audacious and innovative’ (Record Collector)

‘Section 25 might just be the best band in the world. Since 1980 they’ve been forging music that is as beautiful as it is challenging, from the monochrome psychedelia of their first album through Zen guitarscapes, electronic epiphanies, the arguable invention of Acid House, and on to an unexpected rebirth in 2006. Even within the narrative of such an unusual band, Retrofit is an odd confection: not a best-of or remix album, but a retrospective in which tracks are remodelled as gleaming technosculptures with the most human of hearts.’ (Glasgow Herald)

Now released on vinyl for the very first time, FBN 140 is limited to just 500 copies pressed on orange vinyl. The digital copy contains 5 bonus tracks, including a blistering re-boot of Looking From A Hilltop by Stephen Morris of Joy Division/New Order.

Hot on the heels of their highly acclaimed fifth album "Ask," the Turkish-psych band Altin Gün return with a two-song summer remix single. The two tracks feature the remixing talents of Altin Gün band members Jasper Verhulst (bass) and Chris Bruining (percussion). Both Verhulst and Bruining are always searching for new ways of (re) creating music and these remixes were one way to discover new paths in the music they fashion as part of Altin Gün. Kalk Gidelim is a cumbia driven remix, inspired by the cumbia villera of Argentina, while Su Siziyor is a digidub style remix with lots of King Tubby inspired reverbs and phasers. In the end this remix project is focused on fun. Something to help enhance the summer spirit.

Altin Gün: Merve Dasdemir - vocals, keyboards Erdinç Ecevit - vocals, saz, keyboards Jasper Verhulst - bass Thijs Elzinga - guitar Daniel Smienk - drums Chris Bruining - percussion

The legend that is Acen returns after the incredible success of his Trip To The Moon box set with an absolutely epic single "Champion". This new track heralds his upcoming Monolith box set, and is exactly what you would expect from Acen. With a sound like it just came out a few months after Trip To The Moon - which is to say, both forward thinking and timeless, this is heavy beats, classic stabs, ruff bass and proper original rave stabs as only Acen can bring. With flipside remixes from Innercore and Jimmy J & Cru-l-t, this single will be gone before you can imagine it....

After decades of near silence, the old skool scene was shocked and thrilled to hear about a new Acen release, and here it is on vinyl! An absolutely amazing slice of old skool that also looks to the future in a classic Acen style, this one is sure to fly! All three tracks on the EP are authentic and incredible and deserve pride of place in any collectors collection!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Edna Wright's idiosyncratic "Oops!" is one of the most sublime vocal refrains in soul music history. Anchoring its host album's leadoff cut, it sets the tone for a uniquely satisfying modern soul LP. Indeed, whilst many of its ilk come laden with filler, Wright's one solo record is an exercise in elegant restraint, a concise killer.

Originally released in 1977 on RCA, this rare and sought-after album followed the 1973 disbanding of Edna's much-loved Honey Cone. Produced by her husband, legendary producer/songwriter Greg Perry, the album was somewhat of a risk, a deep soul album released during the period when disco was altering the landscape of popular music. And perhaps inevitably, despite the stellar production and spine-tingling vocals throughout, the album glided gracefully under the radar, spawning only one single and seeing no chart action.

That single - the magnificent title-track - soon became a notorious rare groove stepper in its own right. However, in the years since, it has become a crate diggers classic. Its fame was elevated among hip-hop heads when Prince Paul memorably looped the shimmering intro when crafting the melodic hook for De La Soul's late-summer-stunner "Pass The Plugs", a wistfully melancholic back-porch nostalgia trip. And, more recently, Leon Vynehall liberally lifted the same intro for his sepia-tinged "Midnight On Rainbow Road" to augment the excellent Rush Hour compilation Musik For Autobahns 2.

Yet this album is so much more than its most famous song. An assuredly lean masterpiece from start-to-finish, the album features a further six dynamite tracks of warm, smooth soul. As such, it's an impossible task to choose certain tracks to highlight alongside the mighty title track. Throughout, Edna's strikingly mature vocals are wonderful, proudly stepping out with a sophisticated groove reminiscent of Jean Carn or Gloria Scott, whilst Greg Perry's gorgeous string-drenched backdrops add a rich depth. So much so, many of the other tracks have been sampled by producers with impeccable taste, from 9th Wonder to The Alchemist for songs featuring Nas and Talib Kweli.

Following her glowing role in the acclaimed documentary 20 Feet From Stardom, we pray this long overdue reissue will allow further light to shine on Edna. Officially licensed and beautifully remastered for vinyl by celebrated engineer Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original iconic artwork. Each copy includes a printed inner sleeve with a sumptuous black & white photo, full lyrics and heartfelt notes from Edna herself.

Kombinat 100, the suspiciously band-like live act from northern shores, are set to unleash their eagerly awaited debut album ‚Wege Übers Land’ (ways across the land). Here, everything we know and love about these notorious dancefloor smashers reemerges from the studio, squeaky clean and freshly rinsed, polished and arranged. An irresistible retrospective of Kombinat 100’s countless live gigs, there is no other way this album could have come about: All of the four Mecklenburgers’ tracks have their origins on stage.

So don’t be surprised if you find yourself moshing along from beginning to end! Kombinat100’s eclectic mix and match of influences touches on more genres than you could possibly think of, from techno, house, dub and pop to jazz and beyond, interspersed with plenty of lovingly crafted moments of homemade bliss. And it is precisely those moments, when the boys reach for their acoustic sidekicks, from accordion and melodica to congas and hammond organ, that our hearts miss a beat. Unafraid to flaunt grand emotions, melancholic opener ‚Flieg kleine Taube’ (fly away, dove’) and the sun-drenched sounds of ‘Hanne Nüte’ meet their match in the rocking grooves of ‘Out Of My Space’. In-between, the boys invariably return to their gig-inspired dancefloor roots – ‘Woterfitz’, ‘Del Maritim’ and ‘Der Pomel’ are set to move your heart, feet and mind. So, finally: a breath of fresh, Open Air for your living room!


Kombinat 100, der bandverdächtige Liveact aus dem Norden, veröffentlicht nun mit "Wege übers Land" sein lang erwartetes Debüt- Album. Das, was bisher den Dancefloor zum Einstürzen brachte, bekommen wir nun sauber im Studio aufpoliert und arrangiert. Dabei handelt es sich um eine Retrospektive der unzähligen Live-Gigs der vier Jungs aus Mecklenburg. Ihre Tracks entstehen auf der Bühne, sind für die Bühne konzipiert. Deshalb muss es auch niemenaden verwundern, wenn man von Anfang bis Ende mitgeht. Kaum ein Genre wird ausgelassen, wenn Kombinat 100 seine Einflüsse aus Techno, House, Dub, Pop und Jazz reflektiert. Aber auch die heißgeliebten handgemachten musikalischen Augenblicke dürfen natürlich nicht fehlen. Denn genau dann, wenn sie ihre akustischen Instrumente, wie Akkordeon, Melodika, Conga`s und Hamond Orgel zum Einsatz bringen, schlägt unser Herz am höchsten. Diese Tracks stehen zu ihren großen Gefühlen, wie der melancholische Opener-Track "Flieg kleine weiße Taube" oder das sonnenverwöhnte Stück "Hanne Nüte". In der Mitte wirds dann mit "Out Of My Space" shufflig und rockig. Dominiert wird das Album jedoch durch die Tracks "Woterfitz", "Del Maritim" oder "Der Pomel", welche ganz klar für den großen Floor zugeschnittenen sind. Endlich: Kombinat 100 gibt uns ein Stück Open Air-Feeling für's Wohnzimmer!