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The twelfth volume of Drumcode’s flagship A-Sides series featuring future-facing cuts spanning the breadth of the techno spectrum, The annual compilation serves to showcase some of Adam Beyer’s favourite demo’s throughout the year, as the label boss enjoys the opportunity to introduce new artists to the label, while showcasing cuts from Drumcode’s mainstays.
Kicking off Part 2 is none-other-than Carl Cox whio makes his Drumcode debut with his remix of Label Boss Beyer's massive Take Me There feat DJ Rush.

You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

Slight Function = Krenzlin + Rhombic

Early support by: Alexander Kowalski, angel molina, Casual Treatment, Dave Clarke, Dj Shufflemaster, Eduardo de la calle, Kastil, MTD, Oliver Rosemann, pacou, R/D/V, Ryuji Takeuchi, Svreca

Comprising accomplished musicians Roy Bar-Tour, Atzmon Avrahami and Adam Yodfat, Les Dynamites built themselves a strong following for their fresh blend of Mediterranean and classic surf rock with Balkan and Yemini folk, catching the attention of Middle Eastern groove connoisseurs Batov Record. Their debut single for the label, “Pop Oud #2”, packed enough punch, and funk, for both psych fans and break dancers. Backed by a dubwise flip by digging pioneers Radio Trip, it received support from the likes of Juno, Monolith Cocktail and Worldwide FM.

“Uzi Kinrot” takes its name from guitarists Uri Kinrot and Uzi Feinerman of Boom Pam, pioneers of today’s resurgence in Middle Eastern surf rock. Ray Bar-Tour riffs like a Klezmer-playing Dick Dale over a Balkan sousaphone bass lines and snappy drum rhythms. Towards the end, Yemen Yehudith adds a special touch of traditional wailing, raising the excitement by another notch.

Recorded, co-arranged, produced, mixed and mastered by Uri “MixMonster” Wertheim of famed funk band, The Apples, and obscure sample scientists, RadioTrip. On “Uzi Kinrot” and “Sea Gull”, the group pay tribute to the Mediterranean surf heroes who inspired them most. They continue from where the seventies funk leaning “Pop Oud #2” left off, going deeper, and reuniting the classic Mediterranean and American surf sounds with a fresh perspective, destined to earn themselves an even greater following.

Skyjack is what happens when a heavyweight South African jazz trio meets a pair of Swiss reed and brass hotshots. Over the course of a decade, this all-star quintet has forged a reputation as an innovative and adventurous force in contemporary African and European jazz. Combining deep grooves with thrilling rides and avant-garde experimentation, Skyjack is a powerhouse both on stage and in the studio.

Light Cycle is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a deep grounding in memory and folklore.

Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.

Repress!

HI-LO returns to Adam Beyer’s label for a sharp new outing ‘WANNA GO BANG’. The new track comes almost a year on from his energetic Drumcode debut ‘Hypnos’, which was followed by his remix of Adam Beyer & DJ Rush’s ‘Restore My Soul’. Oliver Heldens’ techno alias HI-LO has been building steam over the last 12 months, remixing Nina Kraviz’s ‘Skyscrapers’, sharing line-ups with everyone from Erol Alkan to PanPot and Enrico Sangiuliano on the world’s biggest stages, while also collaborating with Reinier Zonneveld, Eli Brown, and Space 92. All the while he’s kept in contact with Beyer, a sophomore offering on Drumcode always on the cards. ‘WANNA GO BANG’ is a high-powered Chicago-influenced weapon, that takes its vocal from the DJ Deeon classic ‘2 B Free’. HI-LO’s cut sees the vocal combine with a volley of drums throughout the mid-section, which adds a clever dynamic energy to the track. Already teased in HI-LO’s sets, and widely supported by the underground’s finest including Beyer, Amelie Lens, Enrico Sangiuliano, ANNA, and many more, ‘Wanna Go Bang’ is set to dominate clubs worldwide. Included in the pack, ‘LOKOMOTIF’ is five minutes of pure machine funk as HI-LO crafts a fantastic little groover driven by 90s house synths stabs. The track which has been in the works for the past two years has been teased in HI-LO’s sets over the summer, also garnering support from Carl Cox. On both tracks, Oliver Heldens says “‘WANNA GO BANG’ is my take on Chicago legend DJ Deeon’s classic vocoder vocal sample (from his 1992 song “2 B Free”, but it’s pitched down 5 semitones now which gives it such a dark vibe). I’ve always wanted to make my own DJ weapon version of it since I heard Bjarki’s trippy version in 2015, and I’m really happy with how it turned out, it’s such a monster! “LOKOMOTIF” is a high-energy groover, driven by 90s House synth stabs, funky percussion and banging drums, and it sits very nicely in between Techno and House. Both are really ‘dance floor’ focused, so I’m very pleased that many noteworthy DJs have been banging out these tracks in their sets already pre-release. And I couldn’t be happier than to see them released on one of my all-time favorite labels, Drumcode!”

The twelfth volume of Drumcode’s flagship A-Sides series is set to land, featuring 20 future-facing cuts spanning the breadth of the techno spectrum, while none-other-than Carl Cox makes his Drumcode debut. The annual compilation serves to showcase some of Adam Beyer’s favourite demo’s throughout the year, as the label boss enjoys the opportunity to introduce new artists to the label, while showcasing cuts from Drumcode’s mainstays

For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (NYC), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era FSOL should find much to like.

Purple Vinyl Repress is coming

One of Smiths favourite pieces of music, At Les, has been a remix target of his for a long time but earlier this year inspiration and motivation combined and resulted in two brilliant interpretations which were immediately sent to Carl Craig, purely out of respect. Craig loved them, granted his permission and approval for a special remix package release on Tronic and now, here we are with one of the biggest releases of 2010.

Delivered in both Tronic Treatment and Hypnotica Remix forms, Smith has taken the originals warmth, musicality and emotion and given them the sort of energy and power which has made him one of the most bankable producers of recent years.

The Tronic Treatment remix starts slow but with careful and patient layering of melodies builds to an epic, peak time track which takes on an almost orchestral feel while the aptly titled Hypnotica Remix takes a slightly more aggressive, loopier and hypnotic take.

Repressed on Clear Vinyl for 2022


Dave Clarke Very good, congratulations!

Slam awesome mixes. played last night - a classic just got better really love both mixes

Laurent Garnier what a classy remix of this stunning classic—Will play everywhere and will playlist on the radio BRAVO

John Digweed "Massive!" Both Remixes!

Dubfire "Christian has managed to do a great remix of a timeless classic which is both reverent and of the moment. Well done! I closed with it at Awakenings festival and it sounded wicked!"

Adam Beyer Love the "Hypnotica" remix that Christian made. Been playing it over and over and it was one of the biggest trax during WMC for me!

James Zabiela Oh My God!!!!!! Going on my essential mix that was meant to be handed in this morning. Re-working to fit this in. ANTHEM!!!!!

Vladislav Delay presents the fifth and last EP in his "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

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Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Passacaglia ist ein vielfarbiger musikalischer Dialog zwischen zwei einzigartigen Charakteren, die führende Persönlichkeiten des europäischen Jazz und der zeitgenössischen Musik sind: Adam Bałdych and Leszek Możdżer. Das Repertoire reicht von freien Improvisationen über von den Musikern selbst mitgeschriebene Werke bis hin zu Ihren ganz persönlichen Interpretationen von Themen von Erik Satie, Josquin des Prez und anderen.

Dutch synth-wizard Nadia Struiwigh brings her eclectic live approach to Blueprint Records.á On the "Voxis Ohlun EP", Struiwigh reflects her profound command over synthesis and sequencing, crafting upfront techno with a vigorous, nostalgic feel.

Nadia Struiwigh, the Dutch artist rooted in Rotterdam and currently based in Berlin, has carved a unique niche in the electronic music scene.á Her genre-defying compositions, blending ambient, techno and electro, exhibit her signature ethereal and melodious production style, with a discography gracing acclaimed labels like Central Processing Unit, Nous'klaer, Dekmantel, Clone and InFinÒ.á Inspired by the Warp school of electronica, her live performances (ranging from immersive ambient to kinetic techno) are a testament to her technical prowess and emotional connection with her audience.á A versatile DJ and live act, she graces both concert halls and strobe-lit club sessions, curating sets that span from driving techno to deeper, emotive realms, earning her residencies at venues like Tresor.á Her versatile expertise extends beyond music; she collaborates with pioneering music brands such as Roland, Korg, Teenage Engineering, Arturia and others, embodying her reputation as a leading tech enthusiast within the industry.á Her contributions to esteemed platforms like Resident Advisor, Phantasy, Bleep, Slam Radio and Red Light Radio underscore her adaptability and prowess across a wide spectrum of electronic music, further solidifying her multifaceted presence in the field.

"Voxis Ohlun" invites you into a mesmerizing journey through the enchanting landscapes of the '90s, blending diverse musical influences seamlessly.á The focus here is on 4x4 dancefloor music, adorned with a tantalizing hint of breaks and pulsating rhythms, and a sprinkle of fairyland allure.á Crafted using only hardware, predominantly the beloved Korg Electribe MX, the sounds resonate with the essence of that era.á Each track unfolds like a chapter in a wondrous tale, interweaving nostalgia with a contemporary energy, ensuring an immersive experience.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

THE 2016 RELEASE OF SUPREME SICKNESS FROM THE US GORE LEGENDS

Skull Grinder was originally released in 2016, and contained 7 new tracks of gut-wrenching death metal delivered in the unmistakable Autopsy way, from members Chris Reifert, Eric Cutler, Danny Coralles & Joe Trevisano.

Recorded once more at Fantasy Studios in Berkeley, California, with Adam Munoz, Skull Grinder perfectly captures the rancid essence of Autopsy in all its savage glory, with a suitably dirty and organic sound mixed with brutal riffs, resulting in a slab of perfect and relentless horror.

“Musically, it's just what you'd expect from us; no style changes, wimp outs, sell outs, settling down or caving in. Add to that acknowledgement of the obvious, some of Wes Benscoter's sickest art yet to (dis)grace the cover, and you have a new sledgehammer to the bowels with no apologies offered whatsoever.”

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco, and released 4 albums on Peaceville Records - beginning with the classic debut Severed Survival in 1989 - before disbanding in 1995, with members going on to form Abscess. Autopsy triumphantly and officially returned from the grave after a 15 year hiatus with the 2010 EP, The Tomb Within. This was followed by the release of the band's fifth studio album, Macabre Eternal in 2011, to great acclaim.

2000 Detroit. 2023 Still Detroit... Remastered and reworked art reissue of Nicola Kuperus and Adam Lee Miller's Adult. classic.

Adam Pit’s Grounded EP sees the space•lab favourite exploring deeper, techno-inspired terrains. Opening track, ‘Schtoopbloop’ traces mystical synth lines and expansive vocals, underpinned by a satisfyingly substantial, driving baseline. Track two, ‘Tiptoe’, enters Pits’ iconic breaksy palette - equal parts dreamy and slick, this is the wipeout soundtrack for the next century. On the flipside, Konduku dips his toe into remix duties, offering up a shimmering, spiralling rework of the original. Finally, closing up the release, title track ‘Grounded’ growls into view, rising from sub-heavy foundations into dubby, treacle-speed sounds.

Hochdynamischer melodischer Metal aus dem Herzen von Raleigh, North Carolina! Auf ihrem vierten Album in voller Länge verbinden Mega Colossus epische Metal-Größe mit den Hooklines und Melodien von Rainbow und Kansas! Aufgenommen mit Al Jacob im Warrior Sound in Chapel Hill fängt 'Showdown' Mega Colossus mit vollem Tempo ein und setzt wieder auf duellierende Twin-Guitar-Harmonien. Buchanans Gesang ist schrill und mühelos und trägt grandiose, kühne Refrains, die sogar gelegentliche Styx-Anspielungen aufweisen. Vor allem aber ist das Album ein der Zusammenschluss von fünf sehr unterschiedlichen Musikern. Kein Wunder also, dass sich Showdown zu einer epischen Darbietung unheimlichen und markanten melodischen Metals entwickelt hat, mit der ganzen Tiefe und dem Charisma einer Band, die jetzt in ihr 20. Jahr geht.

Rock Hard (8,5 Pkt. / Soundcheck # 4 Dynamit!)
MEGA COLOSSUS aus North Carolina haben ihren Stil gefunden. Sie adaptieren die pathetische Melodik von Seventies-Heroen wie Kansas, Styx oder auch Uriah Heep und sind mit ihren drei Stimmen durchaus in der Lage, deren abgefeimten Chorgesang zu reproduzieren. Aber ihre spielerische Provenienz liegt eben nicht im Rock, sondern im agilen, technisch ausgereiften, enorm zeigefreudigen Heavy Metal. Dieser Kontrast zwischen Schmonz und Breitseite ist ziemlich suggestiv. Trotz des hohen Tempos nieten sie sich souverän und tight durch ihre vertrackten Kompositionen, und das Gitarrenduo Bill Fischer/Chris Millard lässt die Finger fliegen, erinnert mit seiner an die Grenzen gehenden Spiellaune an Bands wie Haunt oder Valkyrie. Was ihnen an totaler Eingängigkeit vielleicht noch abgeht, machen sie mit Energie und Frische allemal wett.

Legacy (11 Pkt.)
Bill Fischer und Sean Buchanan stellen einmal mehr unter Beweis, wie geschickt sie Harmonien, Riffs und Hooklines mit prägnantem Gesang zu griffigen Songs zusammenschrauben können. Das inzwischen fünfte Album der Truppe aus North Carolina punktet ab dem Opener 'Fortune And Glory' mit straight gerifftem Siebziger-Jahre-Hard-Rock, der immer wieder Ausflüge in den Bereich des melodischen Metal unternimmt und von Buchanans Organ noch eine epische Note verliehen bekommt - hörbar bei 'Outrun Infinity' oder 'Showdown'. Die Melodielinien in Songs wagen auch immer mal wieder den Flirt mit wirklich poppigen Passagen und Strukturen, ohne dabei in den Kitsch zu schliddern - der kleine Hit 'Wicked Road' ist hier das wohl schillerndste Beispiel. Mit deutlichem Fokus auf Gitarren und Gesang und gesungenen Übergängen zwischen den verschiedenen Momenten erschafft der Fünfer eine Atmosphäre, die klingt, als wären Thin Lizzy auf Europe getroffen und hätten ganz unbefangen ein paar Songs geschrieben. Am Ende spendieren MEGA COLOSSUS dem Hörer mit 'Take To The Skies' noch eine schöne Achtziger-Metal-Nummer. Starkes Teil!

Escape Music is delighted to announce the release date for the long-awaited Robert Hart fourth studio album title “Circus Life” (Bad Company / Manfred Man’s Earth Band / Diesel / The Jone’s). Limited Edition Vinyl in “Green Leaves” colour (500 all numbered 001 to 500), also will include hand signed postcard by Robert Hart! Produced by Steve Overland & Steve Morris / Robert Hart – Vocals (Solo / Bad Company / Manfred Mann / Diesel) / Featuring guests: Steve Morris - Guitars (Heartland / Lonerider / Ian Gillan) / Steve Overland Official - Backing vocals (FM / Lonerider / solo) / Robert Säll - Guitars (Work of Art / WET) / Steve Mann - Keyboards (MSG / Ousey Mann / Lionheart) / Chris Childs - Bass (Thunder / Lonerider) / Harry James - Drums (Thunder / Shadowman) / Keith Atack - Guitars (Atack / Bonnie Tyler / David Cassidy) - Robert Hart is a much-loved British vocalist and has been involved with many top acts over the years such as Manfred Mann’s Earth Band, Bad Company and The Jones Gang. He is also remembered for his fine solo albums, more recently “Pure” which was released by Escape music in 2020. Robert has such a versatile vocal range and can adapt his vocals to many types of rock music, such as AOR, Hard Rock and Blues rock and he has demonstrated this admirably on many occasions since the 1980’s. This is no exception. “Circus Life” also features many musicians and songwriters such as Steve Overland and Steve Morris who wrote the songs we have on show here. The style of “Circus Life” is an extension of what Robert gave us for the “Pure” album but this new recording tops even that. We have bags of melody and some excellent musicianship, as you would expect for such a line-up. If you like Bad Company then you are not going to be disappointed with these 12 tracks.

A tape with the rather factual title “Rosa Beton – Demo 83” gained currency in 1983, albeit among an inner circle, or as it says in a lexical note on the band: Rosa Beton “achieved beyond-regional fame in and around Berlin”. Unlike some other bands that were merely rumoured to exist, this name was widely recognized in the East Berlin punk scene and the demo tape was received with some delight. It had been made in the suburb of Hönow, or more precisely in music enthusiast Thomas Wagner’s childhood bedroom. The band was less a classic combo than a short-lived pro- ject run, for a brief underground season, by 16-yearold Wagner and Ronald Mausolf, who was known as “Mausi” and had just come of age. An old clunker of a four-track machine served as an impor- tant nutritional supplement for the duo, allowing bass and vocals to be overdubbed separately. For a project without a professional background, especially for an illegal punk band in the East, this conventional procedure was clearly exceptional. Punk bands would usually record vocals and instruments simultaneously and on a cassette recorder. Recording gear was not readily available in the GDR, and it was disproportionately or prohibitively expensive. The adversities that had to be overcome in starting up a punk band were certainly challenging for teenagers. Rooms for rehearsals were few and far between despite wide- spread vacancies, and public space was taboo thanks to the state. Concerts, whether in flats and studios or under the protection of the Protestant church, remained rare events and, moreover, risky; starting with the party-loyal neighbour alerting the People’s Police as if there were a war on, to the ever-present “digging activity” of the Stasi. The only planned appearance by Rosa Beton never materi- alised. Whether it was the goddesses of fate who averted a show or the Stasi who prevented it can no longer be reconstructed. In any case, Rosa Beton never played live and thus joined a long list of GDR punk bands that, in the early 1980s, did not make it out of illegality into a public sphere, not even into a conspiratorial one. ausi compensated for the band’s lack of live performances by at least distributing a few copies of the demo tape. Among others, at the Kult, the Kulturpark Plänterwald, which provided an initiation field for the Berlin punk scene and a hotspot with a pull beyond it. The punks adapted the Kulturpark to their understanding of an amusement park.
They would thrash about to Schlager music and pogo to third-rate Ostrock bands, make fun of overwhelmed provincials, hang out and exchange half-baked ideas as superior knowledge. In between, the punks liked to ride the chain carousel, there was a certain liking for chains. The Kulturpark management made quite a fuss about the riot the punks put on. Initially they were banned from the chain carousel, then, when the punks switched to bumper cars, they were banned from the bumper cars, then from the roller coaster, and finally from the ghost

Following 5 BBC Folk Awards nominations and a designation by the Guardian as Folk Album of the Year in 2019, it is fair to say that Lisa O’Neill is one of the most evocative songwriters in contemporary Irish music today. Fresh off 2018’s collection Heard a Long Song Gone for the River Lea imprint, The Wren EP in 2019 and an adaptation of Bob Dylan’s "All the Tired Horses" for the final scene of epic TV drama Peaky Blinders, O’Neill now returns with her latest album, and first for the Rough Trade label, the beautiful, resonant All Of This Is Chance.

A raconteur in the truest sense of the word, every story starts somewhere and O’Neill starts this extraordinary collection here on earth, on Irish soil, hands in the land. The album is full of both orchestral masterpieces like the ambitious and cinematic "Old Note" and the title track of “All of This Is Chance”, inspired by the great Monaghan writer Patrick Kavanagh's prescient meditation on The Great Hunger, as well as stirring meditations on nature, birds, berries, bees, and blood that ring out over a clacking banjo, dusting and devastating all those in its wake.

All Of This Is Chance takes Lisa’s inimitable voice to greater heights, or depths, depending on which way you look at it.

Good things take time. What’s 17 years? Not even a quarter of Keith Richards! 17 years lay between Heiko Voss’ debut album “Call Me Killer” and the incredible follow-up “3:30 Minutes To Live”, which saw the light of day in 2022 on Michael Mayer’s “other label” IMARA. There are serious voices saying that the 80s were only really complete with the release of this album. Now it took the blink of an eye of a year for the remixes to be finished. And they turned out so well that Michael Mayer from KOMPAKT licensed the “3 Remixes for Heiko Voss” without further ado.

Running back guru GERD JANSON was an early adopter of the album. Highly motivated, he twirls “Follow Your Line” rhythmically somehow in the direction of Kate Bush’s “Running Up That Hill”. How did he do that? Never mind. It grooves like crazy and keeps even larger floors moving.

ADA, the Hamburg grand dame of techno pop, has taken on the in tongue speaking funk banger “Talking Man” and dipped it in fairy dust. The result is probably the most sensational, soulful club track ever. Honestly.

The package is rounded off with a powerful Dub Version of “Follow Your Line” by the IMARA and KOMPAKT boss himself. Because he can do it.

Open your heart, let the remixes in.

Gut Ding will Weile haben. Was sind schon 17 Jahre? Nicht mal ein Viertel Keith Richards! 17 Jahre lagen zwischen Heiko Voss’ Debutalbum “Call Me Killer” und dem unglaublichen Nachfolger “3:30 Minutes To Live”, der 2022 auf Michael Mayers “anderem Label” IMARA das Licht derWelt erblickte. Es gibt ernstzunehmende Stimmen, die besagen, dass die 80er Jahre eigentlich erst mit der Veröffentlichung dieses Albums vollendet waren. Nun hat es einen kurzen Wimpernschlag von einem Jahr gedauert, bis die Remixe fertig waren. Und die sind so gut geworden, dass Michael Mayer von KOMPAKT die “3 Remixe für Heiko Voss” kurzerhand lizenziert hat.

Ein “early adopter” des Albums war Running Back Obermotz GERD JANSON. Top motiviert zwirbelt er “Follow Your Line” rhythmisch irgendwie in Richtung Kate Bush’s “Running Up That Hill”. Wie hat er das nur gemacht? Egal. Es groovt wie Bolle und hält auch größere Floors in Bewegung.

ADA, die Hamburger Grand Dame des Techno Pop hat sich des in Zungen sprechenden Funk Kloppers “Talking Man” angenommen und ihn ordentlich in Feenstaub getunkt. Dabei entstand der wohl sensationellste, soulfulste Club Track ever. Ehrlich.

Abgerundet wird das Paket mit einer kräftigen Dub Version von “Follow Your Line” vom IMARA bzw. KOMPAKT Boss selbst. Weil er’s kann.

Herzklappen auf, Remixe rein.

These days we are back again in the 60s, as the world urgently needs a new peace movement.

Therefore we ultimately call everyone to hold their hands together and look into the future, - nothing describes better the message we deeply feel being part of, in the own words of Kito Jempere. For ''Let's Hold Our Hands Together'' he already called up the internationally awarded Swedish composer Adam Evald on vocals and the enigmatic Antoha MC on trumpet, backed by Public Possession artist, Eden Burns and our very own, Leonid Lipelis (check his latest 'Function As A Meaning' EP!!!), on the remix duties, Kito Jempere is the ''DJ's hero'' - selector, producer, own orchestra and band conductor (watch Boiler Room from PPF!), who has been delivering quality dance records through decades via DFA, Lo Recordings, Freerange.

Proclaimed as the ''The King Of Collaborations'' by Zweikommasieben, Kito has been working on music with together with Jimi Tenor, Red Snapper, Hard Ton, New Composers and got remixed by Palms Trax, Andras, Ruf Dug, Black Spuma and many more.

Latest project from Swervedriver front-man Adam Franklin. Working under the name Bolts of Melody Adam, along with main contributor Locklsey Taylor from Sianspheric, have created an atmospheric masterpiece with Film Noir, an album that features additional guitar work from none other than the legendary J Mascis! Film Noir by Bolts Of Melody, released 19 January 2024, includes the following tracks: "The Village Sleeps ", "Vibratube ", "Cops Raid Easys ", "The Isle is Full of Noises" and more. This version of Film Noir comes as a 1xLP. The vinyl is pressed as a transparent, cloudy disc.

Das Debütalbum von Geelong's starken Trio aus erfahrenen Punk/Alternative/Noise-Rockern feat. 'Lightning' Ben Watkins (ex- Warped), Buzz Munday (ex- Bored!) und Adam Doherty (ex- Spaghetti Westerns). GRYTT mischen OZ-Hardrock mit Proto-Punk-Attitüde und noisy Alternative. Das selbstbetitelte Debütalbum von GRYTT klingt, als hätte Lemmy die Amme für das Kind von Husker Du und Wipers gespielt. Buzz' unglaubliches und unnachgiebiges Schlagzeugspiel bietet eine klapprige Kulisse aus "Friedhofsschicht in der Gießerei"-ähnlichem Gepolter als Vehikel für Ben und Ads' solipsistisches und a-rhythmisches Gitarren- und Bassgefuchtel und eine kollektive, temperamentvolle Reihe fataler lyrischer Erklärungen, die mit einer solchen Intensität deklamiert werden, dass sie geradezu lebensverbessernd klingen; Ihr dreckiges, maritimes Stolzieren ist eine eingängige, von Verzerrungen getriebene melodische Schwere, d.h. diese Australier beweisen ein für alle Mal, dass ihr Sinn für Dynamik sowohl intensiver als auch immenser ist als der der anderen Kinder im Block! Inspiriert von Husker Du, Black Sabbath, Wipers und ZZ Top (neben vielen anderen), verbindet die aus Geelong stammende Rockband GRYTT die Sounds des harten Aussie-Rocks mit einer lärmenden Proto-Punk-Attitüde. Die Band wurde 2022 gegründet und besteht aus Sänger/Gitarrist "Lightning" Ben Watkins (Ex-Warped), Schlagzeuger Buzz Munday (Ex-Bored!) und Bassist Adam Doherty (Ex-Spaghetti Westerns). Obwohl sie angeblich Teil einer Szene sind, die Aggression und Lärm ebenso schätzt wie Hooks und Melodien, zeigen GRYTT eine auffällige Pop-Sensibilität. Der Gesang ist üppig geschichtet und doch knurrig, und die Texte schaffen es, eine Schönheit in den Banalitäten des Vorstadtmelodrams zu finden. Unterstrichen von schreienden Garagenrock-Gitarren und der kraftvollen Rhythmusgruppe der Gruppe, treiben GRYTT den Rock'n'Roll mit Vollgas voran. "Featuring members of international touring artists Bored! and Warped "Recorded, Mixed & Mastered at Goatsound, Melbourne Australia by Jason Fuller "Ltd 300 copies on white vinyl worldwide, artwork by the renowned Alex Hegyesi

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

From acclaimed director James Carney (‘Once’, ‘Sing Street’, ‘Begin Again’, ‘Modern Love’). Album features tracks performed by the film’s actors, including Eve Hewson, Joseph Gordon- Levitt and Oren Kinlan, with additional vocals by Lianne Carr Wyllie, Adam Hunter and Gary Clarke.

Starring Eve Hewson (‘Bad Sisters’, ‘Behind Her Eyes’, ‘The Knick’, ‘Robin Hood’), Oren Kinlan (‘Sunlight’, ‘Taken Down’), Jack Reynor (‘Midsommar’, ‘Sing Street’, ‘Glassland’) and twice Emmy-winner Joseph Gordon-Levitt (‘Create Together’, ‘HitRECord on TV’, ‘The Trial of the Chicago 7’, ‘Lincoln’).

Two tracks submitted for Oscar consideration - ‘Meet In The Middle’ and ‘High Life’.

Available on black vinyl 10”. Recorded in Berlin & remotely in 2023, the opening track “Abandon Ship (Martian Meltdown Mix)” runs at over 11 minutes and plays at 33 rpm, “Maybe Make It Right.” the B side is nearly 4 minutes & plays at 45 rpm.


With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties. The release comes in a heavyweight
PVC bag with the artwork being a J card so you can see the vinyl.

The undisputed kings of grind, PIG DESTROYER return with their long awaited fourth proper full length ‘Book Burner’. ‘Book Burner’ is a resounding statement of championship, as every element of PIG DESTROYER towers above their closest peers—a 32 minute, 19 song knockout punch of cerebral viciousness. Scott Hull’s guitar heroics sound like a mutant double speed hybrid of Slayer and the Melvins jacked up on amphetamines, new skinsman Adam Jarvis is the pinnacle of inhuman drumming, Blake Harrison delivers layer upon layer of suffocating atmosphere and JR Hayes remains the poet laureate of extreme metal. ‘Book Burner’ is the finest work of extreme music’s best band. Limited edition deluxe CDs and LPs available with bonus ‘Blind, Deaf and Bleeding’ EP, expanded packaging and the much talked about short story penned by JR Hayes. RECOMMENDED IF YOU LIKE: Napalm Death, Converge, Melvins, Discordance Axis, Wormrot

New Heavy Sounds is super stoked to announce a very very special team up between our favourite punk sisters, Shooting Daggers and Death Pill. Both bands have recorded a brand new song, and what better way is there to present them (or any kind of punk) than a good old split single. So kicking off the Shooting Daggers/Death Pill split, is this never before recorded Death Pill track 'MONSTERS'. Ukrainian punk trio Death Pill certainly made a stir when they hit the UK as part of their first ever European tour. Articles in the likes of the Guardian and Sunday, featured in all the music mags, plus the band showed that they were a pretty ferocious musical outfit, as those who were witness to the full on live experience can testify. Whilst in London, the band also had time to cut 'MONSTERS'. Recorded live in the studio with Wayne Adams (Pet Brick, Big Lad and producer of Green Lung) at the helm, MONSTERS is a short, sharp shock. An angry, sardonic and skewed amalgam of riffs and full on blast beats … it growls and it rips. The band says .. “This track is about how our parents knowingly or unknowingly lose their children. As an example - here are the most painful things you could hear from your folks: "When will you finish your music games?” "You will never achieve anything!” "When are you finally going to do something useful?" Therefore, when there was an opportunity to record a one live song in London, the choice of a song became obvious. Just imagine the "surprise" on the faces of our mums... Many thanks for Ged and Paul from the NHS label for supporting this idea, and to Wayne from Bear Bites Horse for the sick and fat sound” What makes this release all the more exciting, is that Shooting Daggers are dropping their first new music since last year's EP 'Athames'. Sal, Bea and Raquel are most definitely on the way up, their exciting blend of hard as nails hardcore, punk attitude and a neat melodic sense have made them a much sought after outfit, for gigs and festivals here and across Europe. They are slowly but surely proving themselves to be one of THE bands to watch in 2024. If the EP left their growing legion of fans gagging for more, new track 'NOT MY RIVAL' will not disappoint. It's a catchy, pogo-tastic, queercore punk banger, full of feminist grit and a killer earworm chorus. The band says ... "Not My Rival, is a song about dismantling the male gaze, fighting against the internalised patriarchal messages that we all unconsciously absorb. It's about breaking the cycle of female rivalry. We want to encourage lifting each other up instead of tearing each other down" The Shooting Daggers debut album is due in the new year .... you have been warned, this is the shape of things to come. But there’s more ... a very special 7” single strictly limited to 250 copies. Classic black vinyl, with a reversible foldover sleeve with artwork from each band on each side so you can choose your own cover, full colour printed labels housed in a poly overbag

Almost two years on from his last EP offering, Veerus returns for another double shot of groove-inflected techno power.

The Italian artist has been a stellar contributor to Drumcode since his debut in 2019 with the outstanding ‘Hypnosis’ EP. From the ‘System’, to ‘Recovery’ and his most recent EP offering ‘Yard’ in early 2022, we’ve been given a sense of his deft touch for crafting dramatic techno, that’s equal parts exquisite and dynamic.

His latest work ‘Cycle’ reinforces the passion he imbues each production with. “These two tracks perfectly express my vision of techno nowadays,” he shares. “Not fast, groovy, with researched sounds and a crazy impact on the dancefloor.”

The title track balances tension and release on a knife’s edge, as it builds deliciously via a menacing array of synths, before dropping down into an all-out laser-focused march. A powerful cut that’s been a go-to for Adam Beyer at Awakenings, Loveland and Resistance Ultra in Croatia, among others.

‘It’s Funky’ was two months in the making and bring bags of energy and atmosphere as it explores funky terrain, not in the bottom end, but rather Veerus’ colourful approach to writing melodies. A great track for building excitement throughout a set.

Recorded over a four-week period in early 2022, Freedom Lapse is the debut solo release of Australian multi-instrumentalist and composer Adam Halliwell. A versatile improviser and lover of performance, Halliwell has been an active contributor to numerous musical communities in recent years. The release of Freedom Lapse marks an exciting stage in Halliwell’s journey as an artist with the culmination of several important musical facets that are now becoming foundational to his practice.

As Halliwell tells us, Freedom Lapse owes its genesis to an epiphanic moment experienced whilst traversing a mountainous passage in Mexico, a place where ‘the past present and future stretch out in one place’. Entranced by this environment, its colours, the villages and local life, Halliwell listened to music that inspires him (he cites Jon Hassell here). The result: ‘complete aural, visual and spiritual completeness’, a moment of discovery, he explains. Shortly after, the material that now comprises Freedom Lapse was recorded, distilling this powerful sensorial experience into a body of music that he has now invited the world to share with him.

Throughout these recordings restrained improvised phrases and melodic ideas feature, often appearing as long refrains that soar above idiosyncratic beds of fractured percussion and junkyard bass-work. This use of contrast, which is central to the work, allows Freedom Lapse to tap the lucidity-chaos juxtapositional-style that lies at the heart of all good music in the ‘fourth-world’ idiom. Halliwell’s sensitivity to dynamics, form and narrative is potent on these recordings, which allow his winding, free-improvisations the space to unfold and extend patiently. All instruments on Freedom Lapse were written and recorded by Haliwell, with additional trumpet on Cygon Dance supplied by regular-collaborator Reuben Lewis. Freedom Lapse was mixed and produced by Halliwell and Jim Rindfleish.

Grab the two latest Vinyl Fanatiks 7"s along with a label branded 7" adapter!

Impulse’ was a band of Milwaukee, Wisconsin musicians whose members included Michael Reese (Rhodes Piano and background vocals), Cedrick Rupert (Lead and Rhythm guitar), Jeffrey Williamson (Drums and background vocals) and Robin Gregory (Bass and background vocals). They would become a group in their own right with the eventual addition of another local artist John Gee, who joined them as their lead singer. The Impulse musicians formed the backing/touring band for another Milwaukee outfit, a vocal quartet, The Quadraphonics who recorded the solitary 45 single “Betcha If You Check It Out/Prove My Love To You” for the Carl Davis/E. Rodney Jones owned ‘Innovation II’ Record label during 1974. This release would later be nationally distributed by the major Warner Brothers label. With import copies of “Innovation II” single finding their way into the UK the record became popular with the devotees of Blackpool Mecca’s Highland Room.

During 1976 the members of Impulse migrated to Oakland California, they had hoped that, The ‘Quadraphonics’ would join them but instead The Quadraphonics chose to remain in Milwaukee and eventually broke up. It was fellow Brewtown producer/recording artist Harvey Scales who was responsible for inviting ‘Impulse’ to the west coast. Under the auspice of Scales, Impulse recorded their self-titled debut album project at Wally Heider’s Studio in San Francisco. The album was initially offered to Casablanca Records but no firm interest was to materialise, a subsequent approach to Jerry “The Ice Man” Butlers newly formed Chicago label, Fountain Records again failed to secure a release of the album, sadly leaving the project unreleased in the can. In the ensuing years, the former group members have continued with their respective careers, the late John Gee embarked on a solo career, recording the 1980 release “Not Enough Love Makin’/ you Are That Man (Why Don’t You Be That Man)” for Leroy Smith’s Oakland C.A, Pashlo label followed by his 1985 modern favourite “So Good To Me/Just Get On” recorded under the artist name of Jon Pierre Gee on his own newly formed Kandi Inc, Record label. Later Kandi projects included the 1995 Jon Pierre Gee & Touch album and the 2005 Ah’VantSoul cd album project, which featured Jon’s business and real-life partner, Kathryn Hannemann (a.k.a the performing artist Kat Webb).Throughout all the aforementioned projects Jon continued to use and enjoy performing with his former fellow ‘Impulse’ musicians of which the two surviving members Robin Gregory and Michael Reese can still be found jamming to this day in the renowned Milwaukee Restaurant/Coffee House by the name of ‘Coffee Makes You Black’. Sadly, drummer Jeffrey Williamson passed away during 2015 with Coley Jackson coming in to pick up the sticks! Lead and Rhythm guitarist Cedrick Rupert left the group in the 1970’s moving to Lake Charles, LA, sadly, he too passed away in 2020.

The Impulse album project having lain dormant since the 1970’s was resurrected during 2018 when Jon Pierre Gee in conjunction with Stephen Chin of Nice Choice Records (USA) and Soul Junction Records (UK) breathed new life into the project. Beginning with the release of the first of two ‘Impulse’ 45 singles on Jon’s Kandi imprint. Firstly “What’s that Sound/You Changed Me” followed in 2020 by a second 45 “I Really Love You/Get The Funk Off my Back” with all four soul and funk tracks receiving worldwide acclaim. Initial plans for the release of the whole album project had been set in place but we’re unfortunately brought to an unexpected halt with the passing of Jon Pierre in November 2020.

Undetered Soul Junction have finally been able to bring this amazing ‘Impulse’ project to life as a limited vinyl press I’m sure once heard, the old adage of “Good Things Come To Those Who Wait” will certainly ring true, enjoy.

Der OST des zweifach GRAMMY-/BAFTA-nominierten Komponisten Benjamin Wallfisch zum US-SciFi-Action-Film 'The Flash' von Regisseur Andy Muschietti mit u.a. Ezra Miller, Michael Keaton, Sasha Calle, Ben Affleck und George Clooney. Die zweite Verfilmung der Comicfigur The Flash aus dem DC Extended Universe kam im Sommer 2023 auch hierzulande in die Kinos. Wallfisch adaptiert darin auch Batman-bezogene Themen wie z.B. Danny Elfmans 'The Batman Theme'. Beide Formate umfassen 42 Titel mit über 80 Minuten Musik. Die Farbe des Triple-Vinyl basiert auf dem ikonischen rot-gelben Anzug von The Flash, während das Triple-Gatefold mit The Flash, Batman und Supergirl verziert ist.

Waxwork Records is proud to release NO ONE WILL SAVE YOU Original Motion Picture Soundtrack by Joseph Trapanese. From 20th Century Studios,

No One Will Save You is a captivating sci-fi psychological thriller introducing Brynn Adams (Kaitlyn Dever), a creative and talented young woman who’s been

alienated from her community. Lonely but ever hopeful, Brynn finds solace within the walls of the home where she grew up, until she’s awakened one night

by strange noises from decidedly unearthly intruders. What follows is an action-packed face-off between Brynn and a host of extraterrestrial beings

who threaten her future while forcing her to deal with her past.



Waxwork Records is proud to release NO ONE WILL SAVE YOU as a deluxe LP featuring 180 gram Blue & White swirl colored vinyl, heavyweight packaging, matte satin coating to finish.

Second ist der Nachfolger ihres selbstbetitelten Debütalbums von 2021. Dead Best nimmt die rohen, pandemischen Ausdrucksformen zweier Punk-Veteranen auf und verfeinert sie in 13 mitreißenden Tracks. Die LP ist ein kurzes, aber klares Profil der gemeinsamen kreativen Stimme von Goren und Sokel, die mit stampfenden Gitarren und verzweifelten, verzerrten Vocals tiefe Ängste zum Ausdruck bringen. Die langjährigen Freunde Adam Goren und Brian Sokel gingen Ende der 90er und Anfang der 2000er Jahre in der Punkszene von Philadelphia getrennte Wege.

Während Sokel Riffs in die Dub- und Hardcore-Mischung Franklin einbrachte und der primäre Songwriter und Multiinstrumentalist von AM/FM war, die eine Reihe von Alben auf Polyvinyl Records veröffentlichten, spielte Goren in den Punkbands Fracture und Armalite und erforschte die Verwendung von Sequenzern in seinem exzentrischen Soloprojekt Atom and His Package. Mit ihren jeweiligen Projekten tourten die beiden gemeinsam durch die USA und Kanada, veröffentlichten die Musik des jeweils anderen auf selbst gegründeten Labels, und Goren zollte sogar Sokels Band auf dem Atom and His Package-Track For Franklin" Tribut.