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WHOM GODS DESTROY ist die brandneue Band mit SONS OF APOLLO-Bezug, bestehend aus den Bandmitgliedern Dino Jelusick (Vocals), Ron "Bumblefoot" Thal (Guitars), Derek Sherinian (Keyboards), Yas Nomura (Bass) und Bruno Valverde (Drums). Ihr atemberaubendes Debütalbum "Insanium" bietet 9 Tracks voller progressiver Metal- und Hardrock-Virtuosität in ihrer schönsten Form.

Say no more Comorian blues or Indian Ocean rock: Eliasse is ZANGOMA!

This musical concept, created by Baco, the famous Comorian musician, brings together Western music and Comorian and Indo-Oceanic music. Eliasse creates his zangoma rock by mixing rock, blues and folk with typical Comorian and African rhythms. From twarab to mgodro, maloya to afrobeat, zangoma rock reveals its plural face. Its foundation is the drum (ngoma), and Eliasse's percussive rock lays claim to this common, hybrid banner!

With his third album, eponymously entitled Zangoma, due out in early 2024 (Soulbeats Music), Eliasse and his power trio once again promise to deliver groove: Fred Girard's powerful drums, Eliasse's roaring guitar, Jérémy Ortal's swaying bass and a thousand nuances of voice... In short: the Indian Ocean is dancing ZANGOMA ROCK!

On a faim!" was originally an anarchist music fanzine created in 1984.
An entire network, with no geographical ties, grew up around the fanzine, helping to write articles and distribute them (often by hand). The fanzine's name even began to appear in connection with the organisation of concerts (Ludwig Von 88, Raymonde et les Blancs Becs, les Thugs, Les Ejectés, Kortatu, Yo Pizza Jump, etc.) and the creation of radio programmes.
The On A Faim ! label came into being at the end of the 80s, following the release of a host of live tapes and themed compilations: "A Bas Toutes Les Armées", "Cette Machine Sert A Tuer Tous Les Fascistes", "Ni Jah Ni Maitre", "Pogo Avec Les Loups". Then came the first artistic albums with Désert Culturel, Un Dolor, Have Nots, Kargols, Pleum, Mister Moonlight, Rude Boy System... Here again, the artistic choices were made primarily on the basis of human encounters, the attention paid to the bands' approach and discourse, and their attitude to the public... even before listening to the slightest demo!

Archives de la Zone Mondiale wanted to pay tribute to this inspiring label, which marked the history of independent and committed music for nearly 15 years. With one of its founders, Jean Pierre Levaray, we have cleverly concocted a sort of musical anthology retracing the essential bands that have marked the history of the label and the fanzine.

On A Faim ! - Anarchy & Musik is a double 20-track vinyl compilation in a highly graphic gatefold sleeve, retracing the label's extraordinary trajectory regardless of musical style: punk, of course, but also ska, hardcore and popular chanson...

Last but not least, all the royalties from this double vinyl compilation are donated to the Uzine (Le Havre) and Fanzinarium (Paris) fanzine libraries.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Nach ihrer Tournee zu dem von Kritikern hoch gelobten „Luck of the Draw“- Album legt die ELLIS MANO BAND ihren ersten Konzert-Mitschnitt vor.
„Live: Access All Areas“ enthält 15 Songs, aufgenommen 2023 bei Gastspielen in Deutschland und der Schweiz ist über eineinhalb Stunden lang das
faszinierende Dokument einer direkten Momentaufnahme. Es macht Lust darauf, die 2017 gegründete, multinationale Gruppe mit Mitgliedern aus
Kroatien, Deutschland, Schweiz auf der Bühne zu erleben. Die Ellis Mano Band ist auf der Bühne eine Macht und agiert auf internationalem Level!
Virtuos, die Musiker - dicht, ihr Zusammenspiel - intelligent, die Improvisationen - druckvoll und transparent. Eigenständiger, postmoderner Bluesrock
voller Soul.
Zitat Great Music Stories - UK: „Joe Cocker, Dire Straits, Van Morrison, Toto und Chris Rea bei einer improvisierten Late-Night-Jam-Session“.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."

As a composer Martijn Comes has a special interest in timbral music and various musical traditions, with an emphasis on the electro-acoustic history. His works for the carillon were performed live at festivals like Le Guess Who and Rewire. He also released several solo-albums and collaborated with a wide range of contemporary artists like Frans de Waard, Lukas Simonis, Nicoleta Chatzopoulou and Hessel Veldman, with whom he co-produced the album EPoX, published by Bedouin Records in 2020.

Veldman is a veteran of the Dutch musical avant-garde and published several legendary cassettes on his label EXART in the early 80’s. His experimental soundscapes are laced with industrial elements, creating a hypnotic, dark undercurrent of sounds. Besides operating under his moniker Y Create, he was a member of the improvisation group Gorgonzola Legs and kept working intensively with Fluxus artist and Dutch underground cult-figure Willem de Ridder. The home-taping era shaped his free approach to music. His diverse musical practices have been traversing several decades by now and he continues to play music according to his own insights and intuitions.

Because of the emotional and poetic weight of the pieces, reverend Tom de Haan was consulted for this collaborative album. It was the start of a musical exploration and a search for peace, balance and above all freedom. Reaching out to a distant world, a place to come to terms with ourselves. A journey full of obstacles and setbacks. Sometimes persistently moving forward, sometimes doubtful. 'Are there Gods among us or inside us?' The music as a manifest, the expression of an inner struggle.

Throughout the chapters of this album layers of sound and distant voices arise and seem to float on the surface before they disappear again. Swaying on the gentle waves, running ashore, we find ourselves in unknown places. Manifest Exodus is an album for deep listening in the vein of Lustmord, Lawrence English or Rafael Anton Irisarri. It contains 4 rich, immersive pieces with austere drones, ambience, intense sonic textures and an incredible sense of detail to create a multi-layered escape to a better world.

Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard,” his adoration of Johnson, and Black Power politics, Davis created a hard-hitting set that surges with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio — and just as infrequently accepted by the mainstream.

Sourced from the original analog master tapes, pressed on MoFi SuperVinyl, and housed in a Stoughton jacket, Mobile Fidelity's 180g LP reissue brings it all to fore with startling realism. Benefitting from SuperVinyl’s nearly inaudible noise floor, superb groove definition, and clean, ultra-quiet surfaces, this 180g LP showcases everything — from the bold tonality of the headliner's white-hot trumpet solos to the decay of crashing cymbals, carry of wiry guitar notes, and echoes of the studio — in reference fashion.

Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences long-time fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires.

Utilizing wah-wah and distortion, the go-to instrumentalist of the performances— guitarist John McLaughlin — attacks with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson< cross the until-then-impenetrable divide between rock and jazz. Davis puts both feet in the former camp and erases any gap. The stories of the record’s creation are nearly as legendary as the sounds within: Two sessions, multiple jams, different sets of musicians (several uncredited), and near-miraculous production perfectionism that made it all appear cohesive.

The least-well-known masterpiece of Davis' career, the 1971 record — seamlessly assembled and spliced together by producer Teo Macero — was a victim of limited record-label promotion. Audiences also didn’t immediately know what to make of its original cover art — faithfully replicated here. In addition, the powers that be at Columbia Records were directing the public’s attention to Miles at Fillmore, a completely different kind of album guided by two keyboardists. A Tribute to Jack Johnson practically lives in a different universe, one from the future. To many listeners who did manage to hear it — among them critic/musician Robert Quine, Stooges leader Iggy Pop, and renowned critic Robert Christgau — it surpassed everything that came before.

Indeed, Davis treated it as a personal manifesto: An opportunity to salute the Black championship boxer admired for his threatening image to the establishment and impeccable taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson — a stance mirrored by the defiant music, which hits with a prize fighter's force and reflects the graceful elegance with which a pugilist navigates the ring — and closes the album with a Johnson quote read by Brock Peters.

Inspired not only by Johnson but by Jimi Hendrix and Sly Stone, Davis changed his approach and his band. He surrounds himself with a cadre of musicians in their 20s and, in the case of bassist Michael Henderson, a 19-year-old fresh from touring with Stevie Wonder. Henderson gives Davis what he requested: boogie-based grooves that don’t lose shape or direction. Soprano saxophonist Steve Grossman, drummer Billy Cobham, and organist Herbie Hancock adhere to a similar aesthetic that prizes brazenness, innovation, and energy.

In that vein, during a portion of “Yesternow,” Davis segues into a separate performance (which became known in its entirety as “Willie Nelson”) played by guitarists McLaughlin and Sonny Sharrock, bass clarinetist Bernie Maupin, keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. Dig it!

Talking with jazz scholar Bill Milkowski — who himself noted how McLaughlin’s unrestrained style, decibel-forward volumes, and rapid-fire power chords engendered himself to the rock crowd at the same time that his harmonics and syncopation still definitely made him a jazz player — guitarist Henry Kaiser summed up part of the appeal of A Tribute to Jack Johnson as well as anyone, saying: “It’s a jazz record that way way more open than other jazz records at the time, but still not free jazz. McLaughlin’s rhythm guitar playing on ‘Right Off’ — the use of different chords in a rock shuffle than what anybody had used before — was revolutionary.”

And to think that’s just one aspect of a record that contains multitudes. “Never let them forget it.” Indeed.

Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.

A key piece of Mobile Fidelity's Billy Joel catalogue restoration series, 52nd Street is here sourced from the original master tapes and pressed on 45RPM 180g LP at RTI. The wider and deeper grooves – as well as the meticulous mastering – yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.

Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.

Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colours on several pieces, employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.

52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. Decades later, it's finally available in fidelity that nears that of the Columbia Records' master tapes produced right on 52nd Street.

"For a long time, I'd come across these discs without really understanding what connected them, apart from a button and that famous logo designed by René Dessirier. Then, with a little more digging, I discovered the "self-production" link. For choirs, schools, folk singers, young pop groups, popular homes and even great composers who engraved unique copies of certain recording sessions...

The French equivalent of the English "Derby Service", the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies.

Of course, there were other structures for releasing his records, such as Voxigrave or, later, FLVM, but none of them had so many records in their catalog. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released!

Georges Batard was described as passionate and conscientious. His son, bassist Didier Batard, wrote of him:
"Georges was passionate about recording and reproducing the stereo sound of his great passion, music. He paid close attention to distortion rates, signal-to-noise ratios, response curves, rise times and other damping factors in audio equipment. He was looking for the exact reproduction of concert hall sound in his living room (with the same sound level, if possible...). In the late '50s/early '60s, he found other sound enthusiasts in AFDERS (Association Française pour le Développement de l'Enregistrement et de la Reproduction Sonores). He became its honorary president. Every Saturday afternoon, its members met to test au- dio equipment. Their opinions were published in the monthly Revue du Son.

All you had to do was send in your tapes and choose the number of record copies you'd like to take home with you, so you could finally share your creations and, in a way, exist. You could opt for a generic sleeve, available in several colors, directly customizable with your name and credits, or you could design your dream sleeve yourself in your living room or at a printer's.

This "Do It Yourself" temple gave birth to some superb pouches. Stencilled, hand-written, illustrated with paintings, drawings, illustrations by friends or girlfriends of the time, photo prints hastily stuck in the middle of a blank, white sleeve, on which the traces of time would leave their imprints, so that collectors and the curious would come and buy them decades later, with the promise of a musical discovery, unfortunately not always fulfilled...

What most of these records have in common is the youth of their songwriters, whether or not they've had a career. Stories of buddies, of getting by and dreams of glory made up this catalog. Most of them were amateur productions, both in terms of the level of the musicians and the quality of the recordings, made on a two-track or, the ultimate luxury, a 4-track in a teenager's bedroom or parents' living room.

It was the beginning of the home studio, thanks to the advent of the Revox portable tape recorder. A bit of a shaky DIY system, but, in return, the luxury of setting no limits: one-sided tracks, no outside censorship, no artistic director, no manager, no Barclay or EMI/Pathé Marconi logos...

When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride.

It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career...

Many of the protagonists in this story tried to sign with labels, but in those days, bridges were not so easy to build between one's hometown, or even one's village, and the major or more specialized label that might have released these records. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label.

Some of the composers who have gone on to make a career have used this channel to release their first record or parallel projects (Claude Engel, Dominique A, Andy Emler, Michel Deneuve, Claude Mairet, Mick Piellard, Tristan Mu- rail...) and sometimes even single or very limited pressings of work or promotional copies (Bernard Parmegiani, Jef Gilson...).

This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace.

From this work, 23 tracks remain, but there are dozens of others that could have been included, so we had to choose, and the choice had to be as universal as possible. This selection is obviously not objective, but I hope you'll like it.

Today's music is raw, touching and powerful. "

Jean-Baptiste Guillot - Born Bad Records

Introducing, the experimental violinist and performer Vanessa Bedoret.

The London-based French musician today announces that she’ll be joining, Scenic Route, a label renowned for selecting and nourishing rising stars for the release of her debut album, Eyes, due out on 8th of March 2024. Launching with a taste of what’s to come, today she also shares single “1/2”, a textural track that tells of the dichotomy between those who are selfless and those who are self-centred, and their need to merge as one. This duality is reflected in the industrial metallic echoes under Vanessa’s soaring vocals and the piercing strings of her chosen instrument, the violin.

Treating songwriting as an instinctive process, Bedoret transforms her deeply personal experiences into pure emotion. Not following any set narrative, Eyes takes the listener on a journey via their own experiences, prompting introspection through Bedoret’s hypnotic melodies.

Through the album, she awakens the audience's imagination, to open up their emotional response. On “Ballad”, a vague, loving lyrical letter to someone close, Bedoret’s heartbreakingly soft lament is barely audible over the dramatic atonal strings. She flips her narrative again in the titular track, “Eyes”, so the listener empathises through her isolated violin, and takes on her anguish, not needing to understand the full story.

Bedoret began her classical training at age 6 and on completion at 18 she embraced the thrill of playing guitar in punk bands, and like many at the turn of adulthood, was quickly captured by the allure of the dancefloor. Her far-reaching taste doesn’t stop there, she also counts black metal to opera and from eurodance to IDM as inspiration. Her deep understanding of musical form elevates her experimentation to a truly unique sonic experience, one that never strays too far from her original love of classical music.

With only a string of releases under her belt via independent labels like Laura Lies In and Archaic Vaults, her refined skillset has meant she’s been in high demand for both solo shows and collaborations. These accolades include playing violin with New York avant garde collective Standing On The Corner at The Serpentine, as well as a part of Kahil El’Zabar conducts MOKI at the ICA, and Linder: Another Music in a Different Arcadia at the Design Museum alongside artist Linder Sterling, Naima Cherry, Maxwell Sterling, Kenichi Iwasa & Ella Frears.

For her solo performances, she’s shared stages with Standing on the Corner, Ekaterina Bazhenova-Yamasaki, Philomème Pirecki, John T. Gast and Nexcyia to name a few. She’s also performed as a duo alongside musician Severin Black in support of their collaborative EP release, First Passage / Excommunicated.

Through the lens of a life lived to it’s fullest and one that does not shy from experiencing the rawest of emotions, it’s clear that Bedoret has a nack for translating personal observations into cinematic crescendoes. The field recordings throughout only heighten this feeling adding both a grounding and other worldy sensibility. Lyrically, she allows you to peek into her private world and for a fleeting moment letting you lock eyes with hers, asking what do you see?

This debut is a glowing experimental work that purrs with a distinctive narrative. Vanessa Bedoret is a promising new act, ready to take 2024 by storm.

In 2005, an 18-year-old Raphael Gimenes left the sunny shores of Brazil behind, embarking on a journey to a distant and wintry land. "Dinamarca," the Portuguese name for Denmark, became his new home, where he has lived for almost two decades. Today, he presents his third album, a deep exploration of his life in Scandinavia. Rather than being a nationalistic tribute, "DINAMARCA" tells chapters from Gimenes" life story as a Brazilian living in the northern corners of the world. It guides us through the enchanting nordic woods, the vast fields stretching to the horizon, and the timeless sea resting beneath an endless sky. The melodies of blackbirds, the dances of red deer, and the whispers of ancient oaks form the backdrop for his musical stories. Within his songs, we experience moments of deep solitude and boundless inspiration, moments where reflection and creative passion intertwine. Gimenes skillfully turns the power of love into harmonies, dedicating songs to both his companion and his closest friends. Beyond these experiences, he leads us on journeys to Denmark"s neighboring lands, Norway and Sweden, where revelations and encounters with the mystical found their way into the lyrical fabric of his songs. The album"s orchestration includes Gimenes" vocals and the resonant chords of his classical guitar. Accompanying him throughout the album are Jan Kadereit"s multilayered percussion, and Lucas Delacroix"s bass synth, who also plays the electric guitar at times. The music further unfolds with the nuances of a string quartet, and a brass quintet, both recorded in the tropical highlands of Minas Gerais. Other guest musicians feature on individual songs, such as pianist Sebastian Macchi, flautist Flavia Huarachi, cellist Lucas Almeida, and singers Gaby Echevarria, Cecilia Pahl, and Cris Ferro. Gimenes has garnered acclaim and accolades across continents. His debut release, "Raphael Gimenes & As Montanhas de Som," delved deep into the rhythms and traditions of Brazil. It rose to prominence as the top Brazilian release in 2016 in Holland and was hailed as a "conceptual masterpiece" in Japan. His second album, "A Tongue Full of Suns," co-produced with Faroese multi-artist Teitur, ventured into the English language, blending Gimenes" inspirations from the world of prog-rock. Danish rock legend TimChristensen praised it as "top-shelf neo-folk," while Brazilian website80minutos described it as "hypnotizing." The music within "DINAMARCA" delves deep into the soul of a man who embraced a new land with open arms, while staying true to his roots. It unites elements from both of Gimenes" prior works, embarking on a journey across new musical horizons. The result is music that transcends borders, weaving itself into an intricately beautiful tapestry - a soul that has learned to harmonize with two worlds.

The elusive gemstone of 1970s Harlem soul and funk from the Ray Alexander Technique, officially reissued with bonus tracks. Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins’ tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his groupís chances at making it on its own, and Let’s Talk is the sublime result of their hard work. Independently released and recorded with a distinctly lo-fi charm, it is a collection of unabashedly sincere songs that perfectly encapsulates the era’s heady milieu of Black pride and cultural awareness, and the plaintive emotion of struggling to realize dreams whilst navigating a city and neighborhood in decline. Personal tragedy coupled with Jenkins’ inability to gain traction as a musician, would haunt him for years. But Let‘s Talk’s reputation would eventually spread via word-of-mouth praise amongst soul and funk connoisseurs and record collectors. Now elevated to exalted status, it may finally be more widely appreciated as a testament to Jenkins’ gifts. The main album is augmented by two songs by Ray Alexander Technique with Chris Bartley, not available on the original album.

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Barbed Wire Halo’ by Annie Anxiety and ‘Neu Smell’ by Flux of Pink Indians.

They follow records from the likes of Captain Sensible, Omega Tribe, Honey Bane, Jane Gregory, Lack of Knowledge, Sleeping Dogs, Rudimentary Peni and Zounds. First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

New York City musical maverick and performance artist Annie Anxiety, aka Little Annie aka Annie Bandez, began her illustrious career (including work with Adrian Sherwood, Coil, Current 93, and Lee ‘Scratch’ Perry) with Crass. They released her first solo single, 1981’s ‘Barbed Wire Halo’ alongside ‘Cyanide Tears’, an extraordinarily prescient piece of jagged electronics, samples, and skeletal rhythms, led by Annie’s nightmarish vocals.

She tells us; “When creating this single with Penny I hadn’t heard the word ‘avant-guard’ nor could I spell it – I only got explained ‘concretism’ via an interview I did in Berlin regarding some of my work three years ago – My father was a printer so I grew up with sound of printing press and subway train beats and always heard melodies and cross rhythms within those beats – I was just making dance music / disco tunes to my mind and Pen heard those same tunes I was hearing – my first recording, in retrospect I guess, was pretty ‘out there’ at its release, but to us it was dance floor for a club yet to be invented- one day”.

Penny Rimbaud expands; “Annie Anxiety is a total enigma, a passionate voice in the wilderness of consensual reason. Dada in instinct, Monroe in affection, Rambo in inflection, Annie rams it home with divine thunder. An instigator and innovator, she’s the bonkers angel of Yonkers, NYC. With no time to spare, Annie takes to the road with complete conviction, overtaking Kerouac halfway down 5th Avenue. Catch her if you can”.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

2024 Repress

Phonogramme is thrilled to announce the return of ABACUS with 'Analogue Stories Vol. 2,' a profound and immersive sonic journey that continues to push the boundaries of Deep house music. Austin Bascom, celebrated for his releases on prestigious labels like 'Prescription' and 'Guidance,' once again brings forth a captivating slice of deepness. Available on a unique semi-transparent 12'' vinyl in a distinctive Dookie brown hue, 'Analogue Stories Vol. 2' is an indispensable addition for collectors and electronic music enthusiasts alike. Close your eyes, submerge yourself, and let the Analogue stories carry you on an entrancing voyage.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation.

2024 Repress

Kalte Liebe stirs up a storm, breathing new life into the rebellious spirit that once defined old punk bands and "against the system" attitude of iconic groups like DAF from the 80s. In a world where emotional depth in music is becoming increasingly rare without crossing into cheesy territory or losing the rave appeal, Kalte Liebe is a breath of fresh air. Their masterful fusion of New Wave, EBM, Electronic, and Techno is imbued with a melancholic touch that resonates on a deeply emotional level. The Schall & Schweiß EP showcases the versatility of their sound, perfect for listening experiences, at home, or in the club - it never disappoints and always strikes a chord.

First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)"). Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future." The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice. The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.

repress !

A.Skillz and Krafty Kuts team up once again on this track with funk and soul Sensation Gizelle Smith on Vocals.

Creating a disco, funk summer time groover. Their remix takes the track in a more Chilled slice of Electro Funk.

The track has been licensed to a Monkey Shoulder Whiskey Campaign and will be featuring as part of their space launch project. The brand launched a bottle of whisly into space on a carbon netural Ballon, where it circled the earth and the track was played before decending to earth where the whsikey was used to create a cocktail.