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THE VISION BLEAK kehren in der Luxusklasse zurück: Mit ihrem siebten Album "Weird Tales" zollt das deutsche Metal-Duo dem gleichnamigen amerikanischen Pulp-Magazin sowie anderen Geschichten voller Mystik und dunkler Phantasie einen monumentalen Tribut. Das Album besteht aus einem einzigen Track, der in interne Kapitel unterteilt ist. Diese erzählen schaurig-schöne Geschichten, vertonen Gedichte und sind von der klassischen Literatur des Horror sowie des Makabren inspiriert. Unter anderen beziehen sich THE VISION BLEAK auf bedeutende Autoren des legendären Weird Tales Magazins wie H. P. Lovecraft und Clark Ashton Smith. Sie spielen aber auch auf andere Großmeister der Phantastischen Literatur an wie zum Beispiel Edgar Allen Poe und Lafcadio Hearn, dessen "Fantastics and Other Fancies" einen starken Einfluss auf dieses Album ausgeübt hat. Für diese Hommage ziehen THE VISION BLEAK alle Register ihres enormen musikalischen Könnens. Die Kapitel decken die gesamte stilistische Bandbreite von extravagantem Gothic Rock über düsteren Doom bis hin zu harschen Black und Death Metal Parts - sowie so ziemlich alles dazwischen - ab. All die spannenden Elemente, welche die Anhängerschar des Duos lieben und schätzen gelernt hat, sind auf diesem Album vertreten: das Dramatische und Theatralische, das Raue und Schwere, das Melancholische und Unheimliche, aber auch eingängige und symphonische Momente. All diese Stränge sind zu einem dichten Klangteppich verwoben, der von einem wiederkehrendem Auf- und Abschwellen zusammengehalten wird, das an klassische Kompositionen erinnert. THE VISION BLEAK sind aus der Freundschaft zwischen Gitarrist, Bassist und Sänger Markus Stock alias Ulf Theodor Schwadorf und Schlagzeuger und Sänger Tobias Schönemann alias Allen B. Konstanz entstanden. Nach anfänglichen Experimenten in Richtung Gothic Rock fanden THE VISION BLEAK ihre eigentliche Berufung, als das Duo begann, ihre gemeinsame Liebe zum Horror-Genre mit einzubeziehen. Bereits das Debütalbum "The Deathship Has a New Captain" (2004) erzielte sowohl in Gothic- als auch Metal-Kreisen auf Anhieb einen Volltreffer und gilt mittlerweile als Klassiker. Da das Debütalbum thematisch an bedeutende Horrorfilme angelehnt war, nannten die Deutschen ihren Stil treffend: Horror Metal. Mit den folgenden Alben kultivierten THE VISION BLEAK einen Ruf als Garanten für stilvolle und hochwertige Musik. Thematisch drehen sich alle Werke um das Horror-Genre: Auf "Carpathia" (2005) folgten "The Wolves Go Hunt Their Prey" (2007) und "Set Sail to Mystery" (2010), "Witching Hour" (2013) und "The Unknown" (2016). THE VISION BLEAK, die Meister des Horror Metal, schenken der Welt ihr bisher ambitioniertestes Werk: "Weird Tales". Diese ausnehmend schöne und von Herzen kommende Hommage an das goldene Zeitalter der Phantastischen Literatur ist musikalische Poesie. Der Hörer möge mit Bedacht lauschen, sollte dabei aber immer auf der Hut sein. In diesem Song lauern unheimliche und verbotene Klänge aus anderen dunklen Welten!

Reel People Music breathes new life into its gleaming vault of back catalogue classics with brand new series Fusion Moves. The series will offer talented music-makers the opportunity to remix and reinterpret label releases of their choosing, kicking off with soulful progressive Kaidi Tatham in the hot seat.

Tatham’s modus operandi is clear from the get-go. Opening selection Sebb Junior feat. Paula’s All Of My Life flows dreamily upon that trademark Tatham mix of organic beats, polished horns and immersive keys. As Paula rightly sings, “the beautiful can happen.” And keep happening…. Reel People feat. Mica Paris’ reworked I Want To Thank You gains elegant funk and boogie bounce, a bubblin b-line and those upweighted backing vocals adding new urgency and depth, whilst some extended bass-end manoeuvrings on the collective’s 2020 hit Save a Lil Love provide a hugely effective counterpoint to Eric Roberson’s super-smooth vocals.

Tatham switches things up for his re-take of The Realm x Atjazz x Kelli Sae’s deep afro-house burner On The Road, adding wonderfully carefree jazz-funk flow ‘n’ feeling replete with sweet synth solos and guitar licks. The snappy syncopated rhythms propelling Daz-I-Kue feat. Hadiya George’s Pedigree and Monkey Brothers feat. Sean Escoffery’s stunning Losin’ My Head align to the rich broken beat heritage for which most admirers associate him but, true to form, he continues to glide compellingly between mood and moves….

From the loose bass-guitar groove of Eric Ericksson & Reel People feat. Debra Debs’ Don’t Hold Back On Love and sultry strut and swagger of AAries’ Don’t Give It Up to Sebb Junior feat. Muhsinah’s infectiously jammin’ Special – lovingly framed by nimble jazz-piano play – and the liberatingly upbeat dressing applied to Tony Momrelle’s seminal Fly, Tatham’s sonic upholstery right across Fusion Moves is as skilful as it is impactful. One expert body of work built upon another.

Expect to hear further Fusion Moves in the coming months. Fresh twists on quality songs and sounds. Always with soulful authenticity at the heart.

Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush."

Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era and remains a pivotal album in the Stone Temple Pilot's discography. Critics praised the band's musicianship, Scott Weiland's charismatic vocals, and the album's songwriting.

Core showcases a diverse range of musical styles, blending elements of alternative rock, grunge, hard rock, and even psychedelic influences. The band's sound is characterized by powerful guitar riffs and a melodic bassline.

The album strikes a balance between heavy, grunge-infused tracks and more introspective, melodic compositions. Songs such as "Sex Type Thing" and "Wicked Garden" exemplify the band's heavier, hard rock side, while tracks like "Plush" and "Creep" showcase their ability to craft emotionally charged, radio-friendly ballads. The album's eclectic mix of styles contributed to its widespread appeal and longevity in the alternative rock scene.

The top-notch Analogue Productions reissue earmarks are all here: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Empires rise and fall every day in the human heart, and riding these cycles--stories with no beginning or end, only transformation--churns us through the reckless, ridiculous, rueful, redemptive. A founding member of Lake Street Dive and writer of some of their most enduring songs, Iowa-born and Brooklyn-based Bridget Kearney is known for writing smart, unexpected lyrics and melodies built for a heart-baring dance or an introspective drive. Kearney writes music as if filtered through a camera lens. Her stories, steeped in nostalgia and joy, construct a bittersweet framework around the memories that make us human, and shape who we are. As the absurdity of life abounds, Kearney can hold these fragile snapshots and rolling reruns with evident notes of levity, and compassion for a past self. On her new album Comeback Kid, produced by Dan Molad (Lucius, Buck Meek), there are reminders to cherish the moments that make up the collage of what we see in the mirror, but to also plant our feet firmly in the present, for those are the times that will come to form the future. The tracks hop through time, from the relentless, obsessive romanticization of the past, to unrestrained lust for a different future, all inherit the spirit of resilience needed for any move forward, whether it's to dive back in, walk away, or wrestle with the memory itself. In moments, our Comeback Kid wishes to encase a night in amber to revive it at will, like the old man in Jurassic Park, but ultimately is hip to the bittersweet truth that it will never be the same when you return. Kearney began making Comeback Kid back in 2021, in between her work with Lake Street Dive, and a new position as a songwriting teacher at Princeton University. During the process of Comeback Kid, Kearney took inspiration from her Princeton students, as well as her peers when she embarked on a song-a-day workshop. As she found herself surrounded by the thoughts and processes of others, she was able to pinpoint what it is about songwriting that she truly cherishes: namely, the textures and flourishes that come to form the mood of each creation. Comeback Kid is soaked in vintage synths, Kearney's soughing vocals and delicate-yet-driving percussion that ushers in a bright and serene tenor. "If you're driving, baby I wanna go," she soothes on opener "If You're Driving," welcoming us to the LP with windows down, eyes closed, air rushing through our fingers. It's a celebration of staying in the moment, of saying "yes," even though you know it won't last forever. With references to real psychological games, like Rorschach tests and the phenomenon of Ironic Process Theory, they help build the theme of the mind bending nature of obsession, memory, and perspective. Just like the acrobatic brain games we play in relationships, Kearney plays with language and references, with multiple meanings of "comebacks and coming back," and nods that run the gamut from Samuel Barber's mid-20th century masterpiece Adagio for Strings to Jerry Seinfeld's late-20th century masterpiece Seinfeld. The single "Security Camera" captures the carefree liminal space of reminiscence, as Kearney collects those significant, special moments of a past love. There is no animosity or even sorrow here but rather a warm, propulsive rush of gratitude and awe. "You have these really wonderful, blissful times in your life that are fleeting," she explains. "It's an attempt to keep loving the moments in your past, to carry them with you." These moments are carried with care throughout Comeback Kid, but with an eye on the farcicality of simply existing. Kearney is both sincere and silly, somber yet spirited, expertly gathering the iridescent spectrum of what it means to be alive.

Lauren Ritter returns to her roots with “Antigone // Sarus”, a new EP featuring two emotive, nostalgic, and melodic compositions,
“Antigone” and “Sarus,” that sure to please fans of her All Day Dream 2015 debut Lark EP and her recent Rift Vision output alike. She
invites friends Powel (DE – All Day I Dream) and Zone+ (BH – All Day I Dream / Satya / Mixcult) to provide their takes on both tracks,
who weave in dynamic grooves and vocal elements in their signature styles to underscore Ritter’s melodic motifs.

Following their critically acclaimed 2019 debut album Unfurl, Hidden Notes Records are happy to announce the release of the multi-award-nominated experimental/contemporary folk string duo Fran & Flora’s sophomore full-length album, Precious Collection. Released on Friday 12th April 2024, this album, produced by the duo themselves, explodes in myriad directions expressing the richness of the long-standing collaboration between Francesca Ter-Berg (cello/vocals/electronics) and Flora Curzon (violin/vocals/electronics). With Klezmer and Yiddish song as the predominant inspiration for the record, Precious Collection defies convention, featuring self-penned tunes and unique arrangements pushing their ground-breaking project beyond their virtuosic string playing. Drummers Ursula Russell (Snapped Ankles, Alabaster DePlume) and Simon Roth (Chris Potter, Alice Zawadzki, Adrian Dunbar) feature on the record on full kit and Ukrainian Poik (marching drum) respectively, and Francesca and Flora experiment with bowed cymbals, extended piano techniques, and samples of found sounds.The album was recorded in three different locations - Total Refreshment Centre (London), Big Jelly Studios (Ramsgate) and Great North Sound Society (Maine, USA). The music of Fran & Flora sits in two camps, both steeped in tradition, with material drawn directly from archival recordings, recovered manuscripts and years of study with traditional music masters, whilst simultaneously garnering a contemporary and avant-garde aesthetic, speaking to the more classical and experimental listener. Fran & Flora inject their source material with drones, loops, free improvisation and electronics to create a ‘border-defying’ (Mojo) sound. Their influences range across a wide spectrum of artists and composers from Silver Mt.Zion to Rhiannon Giddens, Lankum, Brìghde Chaimbeul, Colin Stetson, Adrienne Lenker, Shabaka Hutchings and Mica Levi. As string players Fran & Flora’s collaborations together and separately includes performing with the likes of Tom Skinner, Portico Quartet, Imogen Heap, Riz Ahmed, Sam Lee, Talvin Singh, Jocelyn Pook, Hannah Peel and The Vernon Spring. Within the global Klezmer community they have worked with Zoe Aqua, London Klezmer Quartet, Sashe Lurje, Craig Judelman, Merlin & Polina Shepherd and Frank London, and have taught at Klezmer music camps including at Klezfest London, contributing to ongoing research and revival work.

Following their critically acclaimed 2019 debut album Unfurl, Hidden Notes Records are happy to announce the release of the multi-award-nominated experimental/contemporary folk string duo Fran & Flora’s sophomore full-length album, Precious Collection. Released on Friday 12th April 2024, this album, produced by the duo themselves, explodes in myriad directions expressing the richness of the long-standing collaboration between Francesca Ter-Berg (cello/vocals/electronics) and Flora Curzon (violin/vocals/electronics). With Klezmer and Yiddish song as the predominant inspiration for the record, Precious Collection defies convention, featuring self-penned tunes and unique arrangements pushing their ground-breaking project beyond their virtuosic string playing. Drummers Ursula Russell (Snapped Ankles, Alabaster DePlume) and Simon Roth (Chris Potter, Alice Zawadzki, Adrian Dunbar) feature on the record on full kit and Ukrainian Poik (marching drum) respectively, and Francesca and Flora experiment with bowed cymbals, extended piano techniques, and samples of found sounds.The album was recorded in three different locations - Total Refreshment Centre (London), Big Jelly Studios (Ramsgate) and Great North Sound Society (Maine, USA). The music of Fran & Flora sits in two camps, both steeped in tradition, with material drawn directly from archival recordings, recovered manuscripts and years of study with traditional music masters, whilst simultaneously garnering a contemporary and avant-garde aesthetic, speaking to the more classical and experimental listener. Fran & Flora inject their source material with drones, loops, free improvisation and electronics to create a ‘border-defying’ (Mojo) sound. Their influences range across a wide spectrum of artists and composers from Silver Mt.Zion to Rhiannon Giddens, Lankum, Brìghde Chaimbeul, Colin Stetson, Adrienne Lenker, Shabaka Hutchings and Mica Levi. As string players Fran & Flora’s collaborations together and separately includes performing with the likes of Tom Skinner, Portico Quartet, Imogen Heap, Riz Ahmed, Sam Lee, Talvin Singh, Jocelyn Pook, Hannah Peel and The Vernon Spring. Within the global Klezmer community they have worked with Zoe Aqua, London Klezmer Quartet, Sashe Lurje, Craig Judelman, Merlin & Polina Shepherd and Frank London, and have taught at Klezmer music camps including at Klezfest London, contributing to ongoing research and revival work.

Cauthen first earned his reputation as a fire-breathing truth teller with the acclaimed roots rock band Sons of Fathers, but it wasn’t until the 2016 release of his solo debut, ‘My Gospel,’ that he truly tapped into the full depth of his prodigious talents. Rolling Stone called the album “a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner,” while Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” and Texas Monthly raved that Cauthen “sounds like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks, along with festival appearances from Austin City Limits and Pickathon to Stagecoach.

"Room 41" by Paul Cauthen iincludes the following tracks: "Cocaine Country Dancing", "Big Velvet", "Freak", "Give 'em Peace" and more.

This version of Room 41 is pressedon swirl, orange vinyl.

Blue/Black Marble Vinyl, limitiert auf 200 Exemplare. ARROW MINDS sind eine melodische Metalcore / Hardcore Band aus Rostock, Deutschland. Sie wurden in einer kalten Winternacht im Jahr 2016 gegründet. Wenn du Bands wie Strike Anywhere, Avail oder Architects magst, wird diese Band deine Welt auf den Kopf stellen. Ihr neues Album ist ein großer Schritt nach vorne im Vergleich zu ihrem letzten. Man merkt, dass diese Band ihren musikalischen Weg gefunden hat. Ihre kraftvollen und aussagekräftigen Songs repräsentieren alles, wofür eine moderne Metalcore-Band stehen sollte - schnelle, aggressive Melodien, die zu eingängigen Hooks führen; mit Texten, die nicht versuchen, nur leere Parolen raus zu hauen, sondern vielmehr notwendige Fragen stellen und Statements setzen.

DUBFIRE INVITES CHRIS LIEBING, TRUNCATE, CARL CRAIG, DRUMCELL, NADIA STRUIWIGH & MORE TO HIS REMIX ALBUM
EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.
The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, DEAS, Carl Craig, Truncate, Drumcell, Chris Liebing, and Luke Slater as L.B. Dub Corp who have all given the original music in their own unique style.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.

a A1 The Black Dog Trojan Horus Part 1 (Album Mix / Remastered) 00:05:42
b A2 The Black Dog Trojan Horus Part 2 (Album Mix / Remastered) 00:02:29














q D2 The Black Dog 4 3s 555 Part 1 (Album Mix / Remastered) 00:02:57
[r] D3 The Black Dog 4 3s 555 [Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

2024 Repress

Alleviated Records is proud to present a remastered re-issue of the second installment of the ''LooseFingers'' EP series. This EP, produced by Larry Heard contains 3 selections; on the 'A' Side; ''When Summer Comes'' If you enjoyed tunes like ''What About This Love'' Mr. Fingers, you'll like this great dance-song with a summer feel that should provide a great musical backdrop to any summer event. On the 'B' side ''Acid-Bounce'' an acid-track.. which should be a surprise to many since Larry has not really done a lot of ''tracky'' things in recent years. It should be fun for DJ's to get creative with too! ''Transmission X'' is another acid-style track that DJ's and dancers alike will probably enjoy!!!. DON'T MISS IT!!!

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

tapetopia 006 In 1983, some more subdued sounds began to waft from the GDR punk underground into the second half of the ’80s. At five to the end of time, it was perpetually striking midnight and the occasional punk band would mix a little laudanum into their potential for aggression. Portents in this vein preceded a dark wave whose foamy crest would break on fog walls of dry ice. Especially in Leipzig and East Berlin, a chain-rattling zeitgeist produced bands that drew from a dark well. Many of these bands arose from the still hot or already cold ashes of punk. The two founding fathers of Neuntage Alt, René Glofke and Taymur Streng (nicknamed “Strangler”), knew each other from the East Berlin punk scene. The third man aboard, Mike Sauer, played drums in the early 1980s for Sendeschluß, a punk band that, lost in thought somewhere in the no-man’s land between punk and post-punk, faded away in 1984. Punk was no longer the order of the day, but it was a form of expression among many and easy to combine. Glofke and Streng found common ground in experimental set-ups with such otherworldly names as Medusa Brahma or Die zeitweilige Erscheinung.
From this far-flung point of departure, a short tunnel led straight into the black light of Neuntage Alt, the coldest star in the low-hanging sky above East Berlin. Neuntage Alt appeared at the end of 1986, during the last blackout phase of the GDR, on the threshold between the underground and the so-called “other bands” – a scene that used the non-socio-critical approach of German Wutwave (“anger wave”) in order to be allowed to perform publicly. In the context of this scene, Neuntage Alt did not belong to the inner circle. Moreover, the band’s subcultural base was initially in Mahlsdorf, on the south-eastern edge of East Berlin. This was where the DIY sound studio of amplitude apostle and great modulator Taymur Streng was situated. Strangler held the position of house electrician and keyboard god in various projects. One of them had the bland alias Mahlsdorfer Wohnstuben Orchester, behind which the avant-garde court chapel of the bungalow studio was concealed. There Taymur also conspired with the East Berlin underground band Ornament & Verbrechen (tapetopia #001). Ronald Lippok of Ornament & Verbrechen remembers how once, at the opening of a joint session, he and his brother Robert attended Taymur’s engaging slide show of his collection of test patterns. Afterwards, they created a piece with the psychedelic title “Das sentimentale UfO”, which sheds an iridescent light on the bizarre atmosphere in the studio. Taymur’s obsession with technology was legendary. The home studio was also his living space; a circuit, a machine park of screwed and soldered equipment, a single keyboard orgy. His own creations were also based on circuit diagrams found in the radio amateur magazine “Funkamateur”. Its somewhat clueless subtitle “Praktische Elektronik Für Alle” (Practical Electronics for All)

Costantino Luca Rolando Kiriakos, an influential figure in Athens' electronic scene since the 80s, showcased his diverse talents as a composer, sound engineer, and installation artist under his Coti K. alias on this EP from back in 1994. The five tracks he offered up all explore Balearic-ambient bliss-scapes and now get reissued on Dark Entries complete with their smooth breaks, cosmic pads, and lush pianos. Reflecting his Hellenic roots, track titles like 'Argonauts' and 'Theros' bring global ambient vibes and spoken word by Konstantinos Bhta and cello by Nikos Veliotis all help add their magic to this nostalgic journey with a Mediterranean twist.

Released in 2012, debuting at Number 8 on the Billboard 200, Number 21 on the Canadian Albums Chart, Number 65 in the UK Albums Chart and Number 18 on the Australia Album Chart, ‘Vulnerable’ was the fifth studio album by The Used. Production and mixing was handled by John Feldman. ‘Vulnerable’ is now available on silver vinyl. “There are so many kids out there who are special in their own way, and I want people to understand that this record is for the misfits and for the outcasts and for anyone who’s never really fit in. There’s a place for all of us in this world. We can all find it if we just keep looking,” said frontman Bert McCracken to Alt Press.

Dago Sondervan uploads his code-driven debut to the Censor mainframe. Known for live-coding using Sonic-Pi and TidalCycles, Dago transports you straight into front-left of the Algorave. The EP includes a dimension changing remix from Annie Hall, and a further set of twisted electro remixes from CYRK and F.R.B. (an alias of Alex Jann). This is one for the replicants, bots and cyborgs.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

2024 Repress!

Die erste LP ist immer ein Grund zu Feiern, und mehr noch auch ein Grund für freudige Erwartung (auf mehr): nun also, Respekt Leute, denn es naht die Premiere: die erste LP von Marek Hemmann, dem vielseitigsten Elektrotüftler diesseits der Saale.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

Ltd. Edition Vinyl: limitiertes gelbes 180g Doppel-Vinyl, Cover mit Prägung und Durchnummerierung, bedruckte Innenhüllen, Poster und Fotos der Bandmitglieder

Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

Alice Russell is universally acclaimed as one of the best modern soul voices of our time, while her raw talent and charisma commands attention and affection. The much-loved British soulstress returns with the most personal album of her career. 'I Am' is vulnerable and bold while addressing how we must all work on ourselves to heal – so that we can love and connect with those and the world around us more honestly and with depth.

Life, loss and grief have been a central part of this period and a new approach to creating music: “Two little ones have joined me, and one has left - my dad passed away the summer after ‘To Dust’ was released. The day after my Dad’s funeral, I found out I was pregnant with my first little one.” Alice continues: “The grief journey has cracked me open and created a more urgent need to be focused and try to go deeper with how I communicate creatively and who I AM today, and I welcome it with open arms”.

Written and produced alongside long-time collaborator TM Juke, 'I Am' is the first offering of new music from the iconic singer in over a decade and marks a new era in the remarkable career of the down-to-earth vocal powerhouse. This summer, Alice graced the main stage of Gilles Peterson’s We Out Here, supported Nile Rogers and performed as part of a tribute to Aretha Franklin across France, marking her return to the stage, where she belongs.

2024 repress.

“Déjà Vu”, a true labour of love project featuring 5 previously unreleased songs from two of Brazil’s most celebrated artists, Robson Jorge and Lincoln Olivetti. Recorded between 1982 and 1986, these tracks take off from the legendary boogie-disco, jazz-funk fusion sound they presented in their first – and only – album together and allow us to have a glimpse of what their planned second volume would sound like. This collection of songs is a must-have for DJs, Brazilian music fans, and music aficionados alike.

Robson Jorge and Lincoln Olivetti have been influential figures in the Brazilian music scene for decades, with their innovative and groovy sound inspiring many artists in Brazil and beyond. They participated in more than 1,000 records, including groundbreaking work with Tim Maia, Marcos Valle, Gilberto Gil, Gal Costa, Rita Lee, and Jorge Ben, either arranging, producing and/or playing in their albums. This release offers a unique opportunity to experience some of their never-heard-before material, each song expertly restored and remastered from Lincoln Olivetti’s vaults to ensure that the original recordings were preserved.

For disco DJs, this record is a treasure trove of dancefloor gold, specially the opening track “Suspira”, certified material to get any party started. Brazilian music fans worldwide will appreciate the unique blend of Brazilian rhythms with disco and funk elements. And for music aficionados, this release is a rare gem, offering a peek into the creative process of two legendary musicians and producers. In the end, this very special release has the potential to be a hit with a wide range of music lovers.

Amsterdam's Alex Ranzino joins Phoq U Phonogrammen, the 26-year-old sublabel of U-TRAX, with the 'Ride Da Perc' EP. The Utrecht-based imprint welcomes the fast-rising producer following stints on underground labels such as Revenge Techniques and Clone, coming in hot on the heels of its own recent Phoq U release featuring Detroit's Rebecca Goldberg. Alex Ranzino kicks things off with the title track of his 'Ride Da Perc' EP, rocking punchy 909s and spacious, undulating strings. The Advent shows a different side to the track in his remix, still alien-like in nature but demonstrating a sense of dark, mysterious hypnotism through incessant groove and deep pulsating synth work. On the flip side of the 'Ride Da Perc' EP, Ranzino drops 'Acid Groove', a track that proves the age-old fact that b-sides should never be ignored. It's got pumping 303s and ceaseless rhythm, marked by a subtle but masterful house touch. Next up, 'Alienated' rolls on as the perfect warehouse party starter before 'Machine Geweld' closes out the EP as a real late-night mind-melter, already in heavy rotation in Alex's sets at Dutch institutions like BRET, WAS, Intercell and De School.

Utilising a mammoth bank of saxophone samples, Shmuel Hatchwellpresents his new alias hoyah with an engrossing album captured in tape and digital form on Bruk.

The process leading to Set + Setting started out with a need for limitations to provide some focus for long-serving sound engineer and producer Hatchwell. He set out the following guidelines to accompany the overarching idea of 'set + setting':

No 'beats'
Saxophones are the voice
Stay away from the computer for as long as possible

Hatchwell took a deep dive in search of every saxophone sample he could find, threw them all into his MPC and then proceeded to weave together a variety of pieces. The focus on a particular instrument brings cohesion to the album, but equally the limited sound inspired freedom to experiment with other techniques and tools. At times one or two sax voices sound naked and undisturbed, while elsewhere you might only hear jagged shards or distant ghosts as they pass through aggravated processing.

Beyond the sound itself, the name hoyah was born with the flippancy of the 21st Century and ratified by ancient tradition. After the music had been made, After the music had been made, Hatchwell plucked the name out of thin air as a play on the TikTok meme 'can I get a hoya,' and subsequently discovered on a dive into his Jewish heritage that in old Hebrew hoyah means, 'to be, become, come to pass, exist, happen, fall out.' This distinction between Jewish concepts and modern political conflations is important to Hatchwell, who finds himself consistently having to separate Judaism from the situation in the Middle East and its ongoing genocide.

Subtly calling to mind the understated cosiness of real-life sax players like Sam Gendel as well as the fragmented sample manipulation of Matmos and Tim Hecker's approach to processed noise, hoyah's debut album absolutely manifests an idea and musical practice as something new and intentional

Second Compilation Of New Music By Ex-Sarah Records Bands! Under The Bridge 2 is the sequel to the celebrated 2022 compilation album that reunited groups and songwriters who had once recorded for cult label Sarah Records. The new album showcases the continuing creativity of a special group of musicians who have never rested on their laurels. Bigger and more expansive than the first album, Under the Bridge 2 is a double LP, containing twenty brand new tracks. There is a huge range of material here, from intense, dark chamber pop to dense shoegaze to out-and-out indiepop. Exciting new groups are unveiled: The Gentle Spring (a new project by Michael Hiscock of The Field Mice); Vetchinsky Settings (a collaboration between Mark Tranmer and James Hackett of The Orchids); and Mystic Village (which features new songs by Robert Cooksey of The Sea Urchins). You will also see familiar starry names like Even As We Speak, The Orchids and Secret Shine - bands whose line-ups have remained mostly unchanged since the 1990s. And there are established bands who didn't appear on the first album but are now represented - bands like Action Painting! and The Hit Parade. Most of the tracks are exclusive and unreleased: there's the first new song from The Catenary Wires since 2021, a brand new fizzbomb from Jetstream Pony, a haunting instrumental from GNAC. The emphasis of Under The Bridge is on the new. The bands' shared history means they have a shared aesthetic, even a shared ethos - they all believe that the future is more important than the past. They are as independent and as uncompromising as ever, but they are still uncynical - and still excited about what Pop Music can be. Under The Bridge 2 is available as ltd vinyl double LP, CD and digital download. It will not be on streaming sites. CDs and LPs include a 12 respectively 24-page illustrated colour booklet.

Neither Timothy J. Fairplay, nor Norwell are strangers to the Dalmata Daniel family: both of them are trustworthy contributors to DD compilation albums of earlier years, plus Norwell has released his 'ODD' EP and 'Joint Spaceflights' EP back in 2017 and 2019 on the label. So this time, it's a return for Norwell, and a debut for Mr. Fairplay: their DDS09 split EP is here to present 4 tracks full of outer space lights, eerie vibes, mesmerizing beats and cosmic energies.

Timothy J. Fairplay's side A starts with the explicit kicks and ominous basslines of 'Caliber 9'. Slowly and steadily, the laser blasts and relentless drums all add up to define a world of space cadets on the run, where any odd-looking figure can turn out to be a malignant, speedy alien. 'TV Tower' takes us to another planet with an even higher rotation velocity. Fast percussion elements and squished lower frequencies take center stage in this intergalactic episode, but the whistle-like melodies and descending, bubbling robot signals make the journey complete.

Flip to side B, and enter the contemplating, otherworldly atmospheres of Norwell. 'Midnight Rituals' gives you the chills with its breath-like swooshes, grievous sirens and deadly asteroid belts. Yet, there is no need to worry: after an intense ride with your spaceship, eventually you end up in the same spot, where you started: in the stable and steady mid-tempo beats of an expertly-programmed drummachine. The orbital mission comes to an end with 'Natives', a dense and heroic hymn with emotive structures and well-crafted harmonics. The track starts with the bittersweet, lamenting synths of a solo voice, pouring their heart out in the spotlight, all alone on the stage. All of a sudden, a hard-hitting, rhythmic groove commences its last rush of dedicated cadences. It is full of breaks, it is full of 303s, completed with airy echoes and dreamy, light gestures. 'Natives' keeps on building its structure with elegant paces, providing a massive, yet delicate experience of Norwell's defined aesthetics. The track lets the last strokes of its gloomy synths roll out, along with the final round of looping drums, thus putting an end to DDS09.

Lewis Fautzi's new alias, Space Program, debuts in the scene with a deep dive into the edge of his creative and artistic mind, where new visions and ideas have been boiling for so long. A futuristic and spacial sound, emerges from psychedelic soundscapes and places the audience in an expedition to unexplored galaxies and alternate realities.

Scientific Side EP is the first outcome of years and years of methodic experiences in his studio and awakens a profound sense of vitality that goes beyond the basic comprehension of music.

Celine Dion's "My Love: Essential Collection" würdigt die klassischen Songs, die ihre Karriere begründeten und Millionen inspirierten. Das jetzt erstmals auf Doppel-Vinyl erhältliche Album enthält einige von Celines größten Hits wie das Oscar- und Grammy-prämierte "My Heart Will Go On", den internationalen Chart-Topper "All By Myself" (ihre unvergessliche Interpretation der bahnbrechenden Power-Ballade von Eric Carmen), "Where Does My Heart Beat Now" (Celines erste englischsprachige Single) sowie den von Linda Perry geschriebenen Titelsong "My Love".

Auf dem vierten Album des Schweizer Garage Punk Duos drehen sich viele Geschichten um den Tod. Diesseits des Todes steht jedoch das Leben mit all seinen Geschichten, die ebenfalls Platz finden. Die Protagonisten auf «Totentanz» stehen ausserhalb des Rampenlichts. Es sind Erzählungen über Menschen, die man weniger wahrnimmt, viellecht sogar im alltäglichen Leben übersieht. Sie alle finden einen Platz in der komischen Welt des WolfWolfs. Die Musik ist in Stil und Stimmung unverkennbar WolfWolf geblieben und bietet trotzdem neue Elemente. New Wave Drum Sounds der Früh-80er, Industiralklänge oder auch das Mellotron haben zur Vielschichtigkeit beigetragen. Aufgenommen wurde das Album vom langährigen Produzenten des Duos Lukas Speissegger in Rorbas. Gemischt von Harry Darling in den Lux Noise Studios Basel. Gemastert von Robin Schmidt, 24-96 Mastering, Karlsruhe. Wie bei den Vorgängeralben legen WolfWolf auch diesmal grossen Wert auf die visuelle Präsentation der Platte. Diesmal waren das Künstlerehepaar Barbara und Heini Gut für das Cover verantwortlich. Erstmalig arbeiten die beiden zusammen an einem Projekt. Barbara Gut inszeniert den Totentanz mit ihren einzigartigen Skulpturen und Heini Gut ergänzt mit den geheimnisvollen Schriften das Erscheinungsbild. Die fotografische Umsetzung der Skulptur übernahm der Basler Fotograf Daniel Infanger.

Zurich bass guitarist and composer Martina Berther is known for her delicious basslines in experimental rock outfits Ester Poly and AUL. On this solo debut, she conjures something utterly unique from her instrument.

'Bass Works' showcases Berther's talent and ingenuity across 12 startlingly varied one-take compositions. Taking root in improvisation, the collection unfolds like a playbook of strange and beautiful techniques.

Voided melodies, harmonics and surfaces that prickle and collapse in solitude and wonder; Berther's bass is a Geiger counter, etching the contours of abandoned landscapes and forgotten languages.

Recommended if you like the alien transmissions of Éliane Radigue, Mica Levi, Olivier Messiaen.

Introducing the forthcoming vinyl single from FJAAK's highly anticipated album, "FJAAK THE SYSTEM." Featuring three electrifying stompers and an exclusive acapella track tailored for DJ tool usage, this release promises to captivate techno enthusiasts and vinyl aficionados alike. First up, "A1 - Redemption" unleashes an ancient acid-techno anthem, pulsating with acidic elements and an unmistakable old-school vibe. Its hard-hitting beats and minimalist structure reflect the chaotic state of our world's system, while sporadic vocal shots weave a narrative of societal disarray, urging listeners to delve into the madness. Next, "A2 - Hustle" encapsulates the relentless journey of artists striving to leave their mark in the world of music. With pulsating futuristic breakbeats and driving rhythms, the track embodies the dedication and passion fueling their creative pursuits, amidst the challenges of the road and the vibrant energy of the techno scene. Then, "B1 - Mechanic Love" delves into the intricate dynamics of relationships in a technologically infused world. Exploring the blurred boundaries between humans, machines, and cyborgs, the track navigates themes of love, intimacy, and companionship within a futuristic realm where humanity's evolution converges with technological innovation. It's a symphony of emotion and machinery, inviting listeners to ponder the complexities of existence. Lastly "B2 - Unity" featuring US artist Red Eye, the vinyl single includes an exclusive acapella version of a track featured on the upcoming album, providing DJs with a versatile tool for creative mixing and experimentation.

Limited edition tri-color splatter vinyl. The vinyl edition of Daedelus' new LP "Xenopocene" features a die cut cover title album text which allows the viewer to see the multi color swirling vinyl beneath. Xenopocene means Alien Age. Some have theorized our current is the Anthropocene; however in an era where artificially generated and deep faked, what is terrestrial in origin vs u.f.o.? Daedelus’ latest LP ‘Xenopocene’, inspired by their artist-in-residency with S.E.T.I. follows a timeline from an extraterrestrial first contact thru to 10k days hence and spiraling towards the nearest exoplanet 6,000+ years away. Attempting to parse out science informed fiction from the fact that in an unfathomable universe life exists outside our confines. Actually there are guidelines in place for receiving such a communication. In S.E.T.I.'s Protocols for an ETI Signal Detection (which first line reads "Declaration of Principles Concerning the Conduct of the Search for Extraterrestrial Intelligence...") well measured steps from such an awesome event could almost be read as unexceptional. Hyperbole has little place in the sciences whereas music makes the most from. Daedelus across 11 tracks deftly deals with space inspired sounds pulling equally from Gustav Holst and Sun Ra as Alice Deejay and Amon Tobin. No techno-optimism here, ultimately this is Earth music made to dream upwards. Asking us to reckon with our humanity while daring us to envision a new epoch. Interlaced throughout are quavering violins by Vivek Menon. Featuring words from the singular R.A.P. Ferreira on "Starfire" and extra instrumentation from Eli Henry Goss of the Breathing Effect in "Float

MASK’s ZentaSkai & Laura Merino Allue announce vinyl-only underground house and techno series as Cuddling Monsters.
Cuddling Monsters serve up the first vinyl-only volume of a new self titled series on Berlin-based Mask Records. All four cuts explore deep and classy techno, dub and house soundscapes with the aim of rediscovering the soul of electronic music and forming new bonds between human creativity and technological innovations.
Cuddling Monsters is the coming together of creative partners ZentaSkai and Laura Merino Allue. ZentaSkai is the MASK founder recognised for his immersive, hypnotic groove, and Allue is a fashion and graphic designer. They are newly assembled under this alias but have a long-time love of vinyl and analogue machines, which shows in their sounds.
"Crafting music with analogue instruments holds profound importance in the contemporary musical landscape. Despite the omnipresence of digital technology, analogue instruments maintain a pivotal role, offering distinctive sonic qualities, creative constraints, and genuine sound reproduction. The tactile, hands-on connection." - Cuddling Monsters The superbly deep and atmospheric 'Lucky Star' is a dubby minimal cut with a deft rhythm and warm pads that are perfect for cosy back rooms. The absorbing 'Crystal Growing' is another stripped-back techno roller with rubbery drums and pensive chords that lock you into a state of meditation. Up next is the powerful 'Floating Tank' which pairs gorgeous ambient synths with driving drums. It's a great coming together of the physical and the emotional that will take dance floors to the next level. 'Analog Dreams' shuts down with more perfectly smoky pads and grainy lo-fi atmospheres as slick but driving drums power onwards.

DJ Support: Laurent Garnier, Danny Krivit, Chrissy T, Mousse T, Lenny Fontana, Danism & Train, Mr V, Quentin Harris, Natasha Kitty Kat, Eric Kupper DJ Pope, Danism + Train, Saison, Sean McCabe

Physical Education make their debut on SoSure Music with the ‘Sweet Talk EP'. Now based in Barcelona and Prague, Physical Education is the brainchild of Luke Scheybeler and David Philips. The duo’s production alias is synonymous with a soulful, jazzy, sample-heavy sound, meticulously crafted at their studio in the Pyrenees mountains. With a musical history than spans almost thirty years, Physical Education are producing music with a strong focus on musicianship and hardware-based production. Title track ’Sweet Talk’ is a smooth and superbly produced slice of jazz-influenced deep house while ‘Work On That Soon’, ‘Oscar’ and ‘Dreamsville’ (a vinyl only exclusive) are also included here and fully compliment this release to complete a standout debut EP.

Der Album Klassiker von Mr Scruff zum ersten Mal auf Vinyl (3LP im Deluxe Gatefold) inklusive einigen Bonustracks, Sticker und Downloadcode!

Als DJ spielt Andy Carthy alias Mr. Scruff quer durch alle Genres: Soul, Funk, Hip Hop, Jazz, Reggae, Latin, African, Ska, Disco, House, Funk, Breaks, Soundtracks und vieles mehr. Als Produzent macht er Musik, die sich auf diese Einflüsse stützt, mit einer großen Portion Frechheit und guter Laune. 16 Jahre nach der Veröffentlichung seines Album-klassikers "Ninja Tuna" wird die Platte zum ersten Mal auf Vinyl veröffentlicht, und zwar in Form einer schwarzen 3LP-Biovinyl-Deluxe-Scheibe in einem Gatefold-Sleeve aus Graukarton und mit einem unendlich abziehbaren Thunfisch-Aufkleber auf dem Cover. Inklusive Features von Roots Manuva, Quantic, Alice Russell, Andreya Triana, Danny Breaks, Pete Simpson, Skuff & Inja.

Ein wahrer Dub-Klassiker von 1980: Rückwärtstapes voller interplanetarer Soundeffekte, gespenstischer Stimmen und klingelnder Percussion, 'Starship Africa' hört sich wie ein schräger 'Alien' Film-Soundtrack an, der die Dub-Reggae-Horizonte ins Unermessliche erweitert. Mit Mitgliedern der Roots Radics, Misty In Roots und Prince Far I’s Arabs war es der einzige Release auf dem Pre-On-U-Sound-Label 4D Rhythms. Reissue mit ausführlichen Linernotes, Archivfotos und DL-Card. Kürzlich in der MOJO-Rubrik 'How To Buy… On-U Sound' zur am meisten empfohlenen Platte des gesamten Katalogs gewählt.

Two talents with careers spanning varying eras, yet artists positioned at the heart of Italy’s current house landscape, Alex Neri and Mennie are adding to their rich solo discographies with a series of selected works in partnership with one another. Tuscany’s Neri, co-owner of the iconic nightlife institution Tenax and label boss at Wildflower Records, stands as one of the legendary Italian names from the past 30 years, holding residencies at the likes of Pikes in Ibiza while releasing a long list of classic records since the early 90s under numerous aliases, including Kamasutra alongside Marco Baroni. A familiar name to FUSE fans, having released material via sister imprints LOCUS and INFUSE, Mennie has seen his career flourish of late, regularly touring Europe’s key venues while also holding a residency at the legendary Tenax. Here, the two build on their recent joint studio projects with a debut on FUSE for the third edition of the label’s collaborative X Series, unveiling a quartet of impactful house cuts in heavy rotation for label head honcho Siragusa.

Taking a deep dive amongst swirling synths and cosmic interludes, ‘Reality’ opens proceedings with a trippy and punchy lead cut as the duo introduce slick groove-laden drum arrangements to get things moving, while ‘Find Me’ keeps the pressure on with bumping low-ends, shuffling hats and a menacing yet captivating bass groove sure to keep dancers moving in lockstep. On the b-side, ‘Rockets’ brings luminous melodies amongst breaks-influenced percussion for a playful and dynamic production, before ‘Watch Me’ rounds things out with another all-action affair as acid-dipped and kinetically charged closer made for big moments.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Anjunabeats is pleased to announce the self-titled debut album from JODA, aka Jono Grant and Darren Tate. JODA are a fresh musical pairing with shared DNA. Both together and apart, Jono Grant and Darren Tate have been there, done that and bought the vintage synth gear to celebrate.

Grant is one-third of Above & Beyond who, over the course of a two-decade career, have established themselves as one of the biggest electronic groups in the world. Eight studio albums (including one as vocal trance group OceanLab and two acoustic reworks), 17 compilation albums, a film score and nearing 100 singles speak to an output as varied as it is prodigious.

Their label Anjunabeats is home to a bustling community of artists with over twenty years of catalogue. As a classically trained musician, songwriter, producer and hitmaker, Tate is an OG Top of the Pops-botherer. In the early Noughties, at the outset of his career, he appeared on the show three times, once with Angelic, his collaboration with Judge Jules and the latter’s wife, performing classic trance banger It’s My Turn, then twice under the name Jurgen Vries.

The following years saw more musical adventures, more Top 40 UK hits (12 in total) and more pseudonyms, including the trance-facing DT8 Project. In 2003, the pair managed to sync their schedules to work on a couple of tracks, ‘Let The Light Shine In’ and ‘Nocturnal Creatures’. Clearly, there was chemistry here. But as the pair’s respective careers subsequently took them off round the world in opposite directions, reconnecting other than fleetingly was never easy. Then in 2019 Tate returned to his trance roots and signed to Anjunabeats for his DT8 Project releases.

Gatefold Sleeve / 180g Vinyl

Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.

We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.

In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.

Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.

Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.

Omit’s in/Sec is “new,” but not new. Recorded in 2013, the masters lost in the label’s murky somewheresville that always shows up when moving. For those who don’t know, Omit is an experimental electronics artist from New Zealand’s south island who, since 1990, has released thirty-some xerographed cassettes and CDrs in the Dead C orbit for those who do. It’s not enough to say that in/Sec is an ambient masterpiece bringing to mind a John Carpenter soundtrack performed by the Hub because listening to it engineers new species. The infectious and corrupting sounds synthesize new life forms in your brain's enzymes. If you specialize in a niche too much, you are prey to predators outside, but Omit never goes for low-hanging fruit and isn't simulating anything. I can vomit a better looking face than the ones on these little fuckers eating my brain right now. In this century that flatters itself to be of drinking age, it is a queer thing we haven’t come face to face with aliens. There is a time for everything and they're all intermixed. Besides the xenobiological effects, Omit constructs your sentiment through timbral concepts that repeat and shift with minimal reference to harmony, melody, key, or mode. Streams jump and skitter, knitting tightly high and low in a dense rattling driven to the long and most plaintive tones amongst the countless gizmos (that’s including you, but not “you”). This one is for big fans of Anode/Cathode, Ikue Mori, Papa Srapa, Fronte Violeta, and Insignia refrigerators.

Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.

From the liner notes:

The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.

"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.

"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.

I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.

"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.

I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.

Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.

A showcase for Peter Frampton’s growth as a songwriter and guitar player, Frampton’s Camel is named after his touring band, honouring the groove this collective had reached in 1973. Prominently featuring Mick Gallagher’s superlative keyboards, the hard-rocking hooks and catchy melodies here lay the foundation for the superstardom that would come just a couple albums and tours later with Frampton Comes Alive. Camel includes the smash hits “Lines On My Face,” “Don’t Fade Away” and a majestic cover of Stevie Wonder’s “I Believe (When I Fall In Love With You It Will Be Forever).” Camel also introduced the world to the all-time classic rock anthem “Do You Feel Like We Do,” with a songwriting credit to the entire band. This fan favourite has remained a highlight of Frampton’s legendary live performances for decades.

Recorded in a castle in England, Frampton is the breakout album where it all came together: Peter Frampton’s penchant for writing catchy songs with irresistible hooks, superlative guitar playing, and soulful, evocative vocals. Frampton is also the album in which Peter introduced one of his signatures in the “talk box” for his guitar break on “Show Me the Way,” which became iconic during the tour supporting this album and the live time capsule Frampton Comes Alive. In addition to “Show Me the Way,” ”Baby, I Love Your Way” and “(I’ll Give You) Money” have dominated the airwaves and Frampton’s live shows since this album’s release in early 1975. Frampton is arguably the high-water mark of Frampton’s early studio work and a showcase for an artist who had found himself as a singer/songwriter, and guitar player and was on the way to becoming a household name around the world.

Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.

Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.

While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.

Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.

Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."

Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.

Ratboys have been recording and releasing music for over a decade, but their newest album, The Window, marks the first time they’d ever traveled outside their home base of Chicago to make a record, journeying to the Hall of Justice Recording Studio in Seattle to work with producer Chris Walla.

The sessions with Walla (Death Cab for Cutie, Tegan and Sara, Foxing) struck the perfect balance between preparation and experimentation, injecting new life into the band’s style of soft-hearted Midwestern indie rock with an ever so subtle Americana twist. The solidified Ratboys lineup stretched and expanded their vision in the studio, adding unexpected elements and instruments like rototoms, talkboxes, and fiddles. The result is Ratboys’ most sonically diverse record, shifting wildly from track to track. It flexes everything from fuzzy power pop choruses on “Crossed That Line” and “It’s Alive!” to
a warm country twang on “Morning Zoo” to mournful folk on the titular track. After more than ten years and four studio albums, The Window finally captures Ratboys as they were always meant to be
heard—expansive while still intimate, audacious while still tender—the sound of four friends operating as a single, cohesive unit. This release comes with a Download Code.

decade-plus together, the four-piece - Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals) - have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album. Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love . Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all. Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally." "Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "1-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh." "We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness...we can kinda surprise each other, like a good punchline would."

Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.

The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.

La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.

La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.

La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.

This Is Street Funk” is part of a new series aimed at vinyl buyers who want a genre specific compilation to excite their ears. They will appeal to long-standing, discerning music acolytes and recent converts alike. Two sides of fantastic music, at an affordable price, hand-picked with TLC from Ace and its associated catalogues.

Compiled by Dean Rudland, who also writes the liner notes, “This Is Street Funk” brings you 14 tracks of hard hitting, heavy funk, and sums up the sound of 70s Black America. A combination of fatback drums, syncopated bass, rhythmic guitars and explosive vocals.

The line-up of tracks includes classics from the Fatback Band and Millie Jackson, dancefloor favourites from Billy Garner and Billy Sha-Rae and screaming organ instrumentals from the Fame Gang and Larry & Tommy.

This is fourteen tracks that defy you to start dancing.

Convinced Friend is the musical project of singer-songwriter Austin Wilson. Originally from an oilfield town south of New Orleans, he relocated to New England in 2018 which led to a renewed commitment to songwriting. The result is a collection of largehearted indie rock songs. From the motorik pulse of album opener “White Collar’’ dissecting the alienation of modern work and wellness, to the dusky waltz of “Safeway’’ addressing lingering questions of long-term commitment, to the pensive and layered arrangements in “Open Bloom” and “When I Go”, the album incorporates a wide swath of dynamics centered on lush guitar work and a clear lyrical voice and resolve. RIYL: Pedro The Lion, Jose Gonzales, Jason Molina, Red House Painters.

The vinyl is pressed as a cream disc.

Convinced Friend is the musical project of singer-songwriter Austin Wilson. Originally from an oilfield town south of New Orleans, he relocated to New England in 2018 which led to a renewed commitment to songwriting. The result is a collection of largehearted indie rock songs. From the motorik pulse of album opener “White Collar’’ dissecting the alienation of modern work and wellness, to the dusky waltz of “Safeway’’ addressing lingering questions of long-term commitment, to the pensive and layered arrangements in “Open Bloom” and “When I Go”, the album incorporates a wide swath of dynamics centered on lush guitar work and a clear lyrical voice and resolve. RIYL: Pedro The Lion, Jose Gonzales, Jason Molina, Red House Painters.

Tauchen Sie ein in eine harmonische Mischung aus rauen Emotionen und musikalischer Brillanz. 'The Color Purple (Music From and Inspired By)' verspricht ein Hörerlebnis, das zutiefst nostalgisch und erfrischend neu zugleich ist. So trumpft das Album mit einem Ensemble auf, das seinesgleichen sucht - der für den Golden Globe nominierten Fantasia mit ihren gefühlvollen Melodien, Taraji B. Henson mit ihrer emotionalen Tiefe, Colman Domingo mit seiner fesselnden Energie, der für den Golden Globe nominierten Danielle Brooks mit ihrer kraftvollen Resonanz, H.E.R. mit ihrer zeitgenössischen Kunst und Hallie Bailey mit ihrem strahlenden Gesang. Und Musik von den Grammy-prämierten Songwritern des Musicals - Brenda Russell, Allee Willis und Stephen Bray. Doch hört die Magie nicht bei den zeitlosen Klassikern auf.
Tauchen Sie noch tiefer ein und lassen Sie sich verzaubern von einem neuen Kapitel und neuer Musik von Alicia Keys, Jennifer Hudson, Mary J. Blige, Keyshia Cole, Coco Jones, Jorja Smith, Celeste, Mary Mary und October London sowie einer atemberaubenden Kollaboration von USHER & H.E.R.
Von Liebe und Schmerz bis hin zu Widerstandskraft und Erlösung - diese Songs fangen die Essenz von 'The Color Purple' ein und ebnen gleichzeitig den Weg für eine neue musikalische Ära. Und für diejenigen, die einen modernen Twist suchen, gibt es Remixe von Missy Elliot featuring Megan Thee Stallion und Timbaland featuring Black Thought. So schlägt 'The Color Purple' auch eine Brücke zwischen Generationen von Musikliebhabern.

Vladimir Sivc (Funky Destination a.k.a. Mr. Louie) was born on August 19, 1979 in Osijek (eastern Croatia). With dedication to the retro sound of pure funky instinct, he set out to create a wild and groovy sound with this project. Louie took his first step into the world of music by taking guitar lessons. Later he devoted himself to rock singing and playing rhythm guitar.

At the end of the 90s the move from the eastern part to the western coast of Croatia (on the Adriatic Sea). The encounter with the turntable makes him experiment working as a DJ.

Subsequently he begins to produce his own music, traveling through various styles, using house and tribal elements trying to avoid artificial sound processing as much as possible. By using live instruments, the sound remains fresh and alive, resulting in a musical product whose vibrations contain an indestructible power of movement.

He has collaborated with several European labels including IRMA Records, Timewarp Music and Sound Exhibition Records.

In this single we find two of his most famous songs in remix version: Take It Down by LTJ Xperience and Mr. Bong by himself under his pseudonym Louie. Plus the original versions of Take It Down and another of his classics Praise Me Now. While compiling these notes and preparing the release of the single for distribution, we received the terrible news of his sudden passing at just 44 years old. We are completely shocked by this news and we plan to honor him in any case by publishing this EP to which he was very attached.

Horsebeach aus Manchester um den charismatischen Sänger/Frontmann Ryan Kennedy stellen ihr fünftes Studioalbum vor. 'Things To Keep Alive' reicht von Beatles-artigen Balladen über verschwommenen Shoegaze bis zum aufwändigen Cover eines 2000er Pop-Klassikers. Trotz allem behält es die Horsebeach-DNA bei und bietet sogar Momente, die die Fans zurück zu Kennedys C86-inspirierter Debüt-LP (2014) führen. Das Ergebnis ist ihre bislang abwechslungsreichste und lohnendste Platte, inspiriert und gewachsen, und eine Wertschätzung von Dingen, die uns am Leben erhalten helfen.

As the beats echo through time, Isolate proudly marks its fifth anniversary with a resounding celebration of creativity. Five years of great music, unforgettable events, and unwavering support from our dedicated community have brought us to this momentous occasion.
With gratitude for the boundless talents of our artists, the steadfast support from our community, and the dedication of our team, Isolate reflects on this joyful journey. Building on the anticipation we shared earlier this year, we are excited to unveil the grand finale—a remix compilation that breathes new life into some of our most cherished tracks.
This compilation isn't just a retrospective; it's a heartfelt exploration of Isolate's history. From melodic transformations to rhythmic reinterpretations, this remix compilation stands as a tribute to the nuanced fusion of emotions and relationships intricately woven into the fabric of our musical community.
Isolate's fifth anniversary transcends being a mere marker of our past; it stands as a promise for the future. It's a strong affirmation of our dedicated commitment to supporting emerging talent, offering a platform for them to share their distinctive musical stories. In this celebration, we see not just where we've been, but where we're heading—a future that echoes with the distinct voices of those yet to be discovered.
Stay curious, join the rhythm, and come celebrate with us

In 2013, between Hypnoflip Invasion and Stup Virus, Julien Barthélémy aka Stupeflip composed the soundtrack for Parenthèse, the first feature film directed by Bernard Tanguy. Julien and Bernard had recently met at a photo exhibition by Nathalie Sauvegrain, whose film Océane Bernard produced. Bernard, who has just been nominated for a César and shortlisted for an Oscar for a short film, is developing his first feature-length film as a director: Parenthèse, a buddy film about the feeling of growing old, an in camera film on a sailing boat in the Mediterranean, set against the magnificent backdrop of the Port-Cros and Porquerolles National Park (Var). A Stupeflip fan, Bernard considered Julien to compose the music, in his Pop Hip version rather than King Ju, convinced that his 80's style would fit perfectly with the nostalgic vision of the heroes of the story and that Stupeflip was also capable of bridging the gap between generations. Julien composed 11 tracks for the occasion, 8 of which found their way into the final version of the film. The title track, "Parenthèse", features arrangements by Anne Gravoin's string orchestra, giving it a depth and density never before seen in Stupeflip's discography. For the 10th anniversary of the filming, the soundtrack, which was only available on the DVD released in 2017, is being offered for the first time in a remastered version (Marie Pieprzownik, Translab), including 3 previously unreleased tracks not included in the original cut.

Available for the first time on vinyl in a remastered version + 3 previously unreleased tracks

For Fans of Robyn, Tirzah, Charli XCX, Mica Levi, Jessy Lanza, Maurice Fulton. "Don't come closer, because I might hurt you boy / You don't deserve it, I treat you like a toy." So sings 28-year-old South East London musician Tatyana on "It's Over", the sad and squelchy electro-leaning title track to her second album. Primarily written and produced over the summer of `23, It's Over follows the loose trajectory of a not-quite-relationship from the year before. But, more than that, it's an album about modern dating, alienation and the confines of existing online. If you've heard Tatyana's name before, it's probably because she released a debut album back in 2022, Treat Me Right, co-produced with Metronomy's Joe Mount, a record she describes as more of a collaboration. For It's Over, Tatyana took control of every aspect of the album's creation, from the production (she co-produced it alongside Mikko Gordon) to the artwork and the technology she used throughout. "This record made me technically proficient because I really pushed myself," says Tatyana. "I figured out a lot of things that I didn't know before. In the past, I allowed others to lead the charge and I'm not doing that any more." Born in London, before moving to Russia, Holland and Singapore in her teens, before eventually studying music at Berklee College in the USA - which she attained on full scholarship - and then back to London, Tatyana imbues her music with both haywire technical proficiency and encyclopaedic, far-flung tastes. Mostly, though, her sound originates from a pure love of the dancefloor: Robyn, Tirzah, Mica Levi, Jessy Lanza, The Knife. You can hear these dance-pop influences everywhere, from the colourful synth shapes of "Control (ft. Dave Okumu)" to the crackling analogue hiss of "Nothing is True, Everything is Possible". Lean in a little closer, too, and you might catch the shimmer of a harp on every song (she's played harp since she was a little girl, and toured extensively as a professional session harpist). "I write about love, I write about romance, these are the things that interest me," says Tatyana. "That's what this record is. It's about this relationship that broke my brain and I had to write about it."

In Berlin geboren, aber in der Kleinstadt Bad Salzuflen aufgewachsen, pendelt Mina zwischen den Welten und entdeckt in der CD-Sammlung ihrer Tante Schätze wie Joan As Police Woman und Nina Simone. Soul und Blues, die Hip-Hop-Kultur und die Revolte der großen Singer-Songwriterinnen stehen Pate, als sie an ihrer Debüt-EP ,Jaywalker" (2022) arbeitet, mit der sie als beste Newcomerin für den PopNRW Preis nominiert wird. Von ihrem Vater ,aus Versehen" zur Feministin erzogen - wie sie es einmal in einem ,Zeit"-Interview formulierte - bediente sie sich für ihren Künstlerinnennamen beim berühmten Cher-Zitat ,Mom, I am a rich man". Ihr Solidaritäts-Song ,Baba Said" geht während der Revolution im Iran schlagartig viral und verschafft der Sängerin über Nacht auf dem ganzen Globus Aufmerksamkeit. Das Musikalische mit dem Gesellschaftlichen zu verbinden war ihr schon immer ein Anliegen. Mit renommierten Festivalslots bei dem New Fall, Herzberg und Reeperbahn Festival und Supportshows für Maxim, Anna Calvi und Alice Merton zeigt Mina, dass sie ,mit 25 Jahren schon eine ganz schöne Powerfrau ist." (WDR 5, 2022) Mit ihrem Debütalbum ,Grown Up" stellt sich Mina Richman nun dem Erwachsenwerden. Mit schonungsloser Ehrlichkeit kehrt sie in ihre Kindheit zurück und verarbeitet streitende Eltern, kulturelle Entwurzelung und den gesellschaftlichen, wie auch ihren persönlichen Umgang mit ihrem Körper. Ehrlich. Queer. Selbstbestimmt. Auch musikalisch ist Mina gereift und stellt einen Sound mit Einflüssen aus Soul, Folk, Indie und HipHop vor, zeigt dass Amy Winehouse, Ronda oder die Alabama Shakes nicht spurlos an ihr vorbei gegangen sind, beleuchtet die schönen Seiten des Erwachsenwerdens: Mut und liebe Menschen, die einen begleiten. Das Album ,Grown Up" wird am 15. März 2024 über Windig erscheinen und anschließend auf einer großen Release Tournee vorgestellt.

SAICOBAB channels the vital energy of living music traditions through ecstatic performance. NRTYA, Sanskrit for "dance", explores the shared roots of Japanese and Indian spiritual practices in a tangible, intoxicating form. YoshimiO"s experiments in this field are well documented and legendary from her work in OOIOO to her work in the Boredoms. Multi-instrumentalist Yoshida Daikiti reveals the human hand that shapes living traditions, as much through his fluid playing as his own collection of handmade instruments, while percussionist and multi-instrumentalist Motoyuki "Hama" Hamamoto embodies the metaphysical power of rhythm. YoshimiO"s wild vocal acrobatics and inimitable range shift from hypnotic chants to ethereal atmospherics and darting melodies, ducking and weaving around Daikiti"s serpentine sitar figures and basslines. Hama"s solid rhythmic architectures and deft polyrhythms are here enhanced by additional drums from Taketawa Yo2ro, slipping from subtle pulses to thundering grooves that drive the music. SAICOBAB"s music exudes a true reverence for living musical traditions while remaining unbound by orthodoxy. The electrifying energy of the quartet"s performance is palpable in every track, eliminating established hierarchies with performer and listener alike entwined in the same cosmic dance.

LA-based DJ duo Guruku is back with their second release. The title track ‘Mesmerized’ has a throwback feel to the likes of The Gap Band, Prince, and D-Train. With a loose format, Rojai’s vocal builds the dubbed-out drums and heavy synth line that rises to an electrifying release with dirty hypnotic pads smothering a delicious bassline. Italy’s Giovanni Damico lays down a heavy bass textured to perfection with tasty vocoders throughout. Daniel T. (Cosmic Kids/DFA) takes rhythmic cues from B’more's Unruly Records while keeping close to his West Coast roots with a G-funk synth line riding high. What It Takes starts with a melodic, percussive Moog line that breaks into a full production of Rhodes, live bass, and early 80s drums. Rojai delivers a heartfelt love letter letting the one know they can stand the test of time. Rayko vs Wvp mix keeps the boogie alive with a cascading bass line for the dancefloor.


RIYL: Star Creature, Dam Funk, Ray Mang, and The Gap Band.

The Left Side is the latest body of work from the Iggy Pop-endorsed teens since the release of their acclaimed second EP We Aren’t Getting Out But Tonight We Might in summer 2022. With Saul at the creative helm, The Left Side is a mature and cerebral body of work with Saul once again writing and producing the entire EP (with co-production by Ali Chant (Yard Act, Katy J Pearson, Dry Cleaning) on ‘Conman’ and ‘ITSA’). Written in Saul’s bedroom, the EP is a retrospective insight into the young band’s journey so far as they tie up their teenage years.

A coming of age saga, the EP acts as a vehicle for Saul to dive into the psyche behind emotional evolution, and to unpack the complexities of maturity and the ability to say goodbye to the past. These themes present themselves not only in the songs, but right down to the title of the EP itself - which refers to the fact that the left side of the brain is responsible for comprehension.

Summarising the EP, Saul says: “It’s the closest we have been to knowing what picture we want to paint. It’s another window into the musical space we wish to explore, yet I think we’re closer to having our sound. I think the project signifies the end of a section in our lives, moving out from the haze of the moment and reflecting on our teenage years and all its chaos with more understanding.”

L’objectif have drawn instant acclaim across their two EPs to date with support coming from key tastemakers at 6 Music (where previous single ‘Feeling Down’ was daytime playlisted after being premiered by the station’s Steve Lamacq) such as Amy Lamé, Tom Robinson, and of course Iggy Pop, BBC Radio 1’s Jack Saunders (who made the band his Next Wave featured artist and featured

‘Burn Me Out’ and ‘Do It Again’ as Daily Delivery) and Gemma Bradley, Radio X’s John Kennedy, Apple Music 1’s Matt Wilkinson, and Australian national broadcaster triple j. The effervescent young band have already received ‘ones to watch’ tips from national media outlets NME (First On), The Line Of Best Fit (On The Rise), The Observer (One to watch), The Sunday Times Culture (Breaking Act), and more.

Based on David Nicholls’ globally best-selling book, the TV serialisation of One Day has already proved hugely popular with audiences and critics alike.

Multi award-winning screenwriter Nicole Taylor (Wild Rose, 3 Girls, The Nest) adapted the novel for Drama Republic and Netflix.

The story follows Emma (Ambika Mod - This is Going To Hurt) and Dexter (Leo Woodall - The White Lotus) who speak for the first time on their graduation day in 1988.

They go their separate ways but meet once a year on the anniversary as their relationship and lives evolve.



“We wanted to create a score that celebrates the love story between Dex and Em and also reflects the nostalgia for lost time and lost love that they feel, and viewers can relate to.

The music had to follow their journey as their relationship evolves over the years, but still feel like it was rooted in one place.

In other words, we needed to mirror the very different lives and emotions they experience over twenty years ranging from excitement, humour, anger and heartbreak.”

Composers Anne Nikitin, Jessica Jones, Tim Morrish



The score also features tracks from Jessica and Tim under their artist moniker Vanbur, widely acclaimed in their own right, including ‘Last Look’ and ‘Falling Colour’.

Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'

Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.

In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.

The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.

Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.

The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).

In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.

Engelchen literally translates as ‘little angels’ What’s more, for many in the febrile, dangerous era of the 1930s in Nazi-occupied Europe, as they wrote letters to arrange their paths out of danger as refugees,
these were Ida and Louise Cook. Ida and Louise spent much of their early years in Sunderland, and in adulthood lived in a suburb of London with their parents. They were enormous fans of opera and led
relatively quiet and unfussy lives. Yet secretly these resourceful and eccentric women were using their musical obsessions as a means to help dozens of refugees escape with their lives.

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.

Everybody's still talking about the good ol' days! A rough and rugged collection of Numero Group classics that have inspired swarms of killer beats. A head nod to the sounds of Shaolin, the thirteen chambers of Shanghai'd Soul have led a generation of lyrical chefs and production geniuses to compose some of their most ominous hip-hop. Bound by heavy drums, moody chords, and haunting melodies, Gods and Earths alike will appreciate the raw funk and smoother-than-a-Lexus soul that come together like Voltron on this special compilation.

Enid Valu normally relies on lenses and light to express herself. Known to create stunning visuals, to capture sonic worlds with her preferred instrument (the camera), the US-born, Munich-based photographer and video artist has been working with various bands, shooting concerts, creating music videos, visualizing what she hears. However, now that she’s become an indispensable part of the local scene, she for once ditches the cam and steps up to the mic instead – appearing as featured vocalist on two of the four brand-new covers Hochzeitskapelle recorded for the forthcoming EP entitled “We Dance.”

“It’s later than you think,” she reminds us, just like Stephen Malkmus once did in Pavement’s “We Dance” – beautifully rearranged and reworked some three decades later. Also musing about “Stockholm Syndrome,” just like Yo La Tengo’s bass player James McNews did back then, this new Hochzeitskapelle interpretation is obviously less reminiscent of Neil Young, if compared to the original take. Instead, their Yo La Tengo cover feels almost like a song recorded by The Notwist – which, interestingly enough, is not because two of The Notwist’s core members also play in Hochzeitskapelle. Nope, it’s the vibe of Enid Valu’s guest vocals that somehow points in that direction.

As for the two remaining cover choices, it’s all-instrumental business as usual. For Low’s classic “Silver Rider,” it’s the banjo that does Alan Sparhawk’s vocal part, whereas the trombone soon joins in, contributing Mimi Parker’s second vocal layer as the tune unfolds. Eventually adding a German song to the mix – Wir Sind Helden’s “Elefant” –, it’s an EP that comprises four beautiful half-forgotten indie classics that Hochzeitskapelle reworks, adding the group’s unique, charmingly handmade/oddball “Rumpeljazz” trademark. One can immediately tell how much they love the original tracks: these are recordings, done by fans and admirers who aren’t even trying to sound much like the musicians who wrote them. However, the new versions are so compelling in their own right, they make you want to revisit the original tracks as well… (Dirk Wagner)

repressed !

Groovin Recordings is proud to repress another masterpiece of the BLAZE duo, Kevin Hedge and Josh Milan, here under the BLACK RASCALS alias.In 1993 they released only few singles that still represent a landmark in the early 90's deep-house scene.
'Keeping my Mind' will be out in late January with the same tracklisting of the original release, just like
'So in Love', that is going to be repressed in February.

Kyiv (Ukraine) born Sasha Renkas, made music as Antenna for almost a decade, releasing many EP's and a full length album. Now he follows his urge to make a different kind of music. The result is a full length album with slow, intimate, nighttime music varying from abstract pop ballads to ambient movie score pieces. At times they sound like stripped down Kate Bush instrumentals, drenched in reverb, or introvert Roxy Music with a touch of dub and nineties trip-hop. "This time I wanted to compose music and then perform my instruments live making this album. I used mainly old synthesizers and other instruments and a heavy layer eighties reverb machines. Before moving to the Netherlands, I was growing up in the nineties in Kyiv, surrounded by economic turbulence and a weird mix of music from different decades that overflowed the country after years of isolation. Accompanied by the weird early Ukrainian visual culture I was mesmerized by the music videos I saw on TV and I wanted to belong there. I guess I never really grew up, still drifting like a cowboy through imaginary spaces, in a timeless vacuum, outside of real life. I decided to release this album as Sasha Renkas, because it felt very personal and pure, all coming from a spacious, misty place where everybody is still alive and safe."

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

Fixed Rhythms is proud to release a masterpiece double LP by Texas techno young star, Decoder aka Gautham Garg (as seen on Axis Records, Float Records, Amotik, Molecular, Science Cult, Subsist and more). He also runs the fabulous new imprint Toca alongside Jay York. Fixed Rhythms released a 12” EP entitled “Boulder” under his Cratan alias in 2021, and copies zipped on out the door. Not expecting this to be any different.

This is 8 tracks of hypnotic, bendy techno (with a C1 electro switch-up). You’re instantly transported to the depths of the cosmos within your mind on the first needle drop. User beware, this will hypnotize the dance floor. A track for all moments of the deep dance, with a D2 that ends the double LP with a powerfully optimistic sonic statement.

Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

Limited edition of 300 copies on black vinyl. Don’t sleep!

2024 Purple Vinyl Repress

Shogun Audio are proud to present the sixth volume of the acclaimed Shuriken vinyl series - a remix special edition, featuring four of the most popular remixes from the Shogun vaults that are no longer available to purchase new.

Set on majestic purple vinyl, this is a strictly limited edition collector’s item so don’t miss your chance to assemble a set of weapons any warrior would be proud of, when they are gone they are gone…



b A2. Alix Perez - Forsaken ft. Peven Everett & SpectraSoul (Calibre Remix)
c B1. Icicle - Dreadnaught ft. SP:MC (Phace Remix)

2024 Repress

From an avid record collector in his home of Brazil to an artist now championing an undisputable position in the upper echelon of D&B's global hierarchy, DJ Marky's 'The Time Is Right' LP sees one of underground music's biggest success stories serve up an incredibly significant album that represents his unwavering passion for both drum and bass culture and his own growth as an artist.

19 years on from the release of his debut album ‘In Rotation’ with XRS, the internationally revered DJ, producer, and label head has found a home for this greatly-awaited album on Shogun Audio, traversing an extensive and beguiling selection of sonic soundscapes across fifteen of the most refined tracks that you'll hear this year.

Capturing both his signature sound and pristine personality in an energetic, bubbly, and vibrant amalgamation of soon-to-be drum and bass anthems, 'The Time Is Right' is an immaculate 175BPM fuelled offering that celebrates one of the scene's most passionate, charismatic, and loved mainstays of the past two decades.

Teaming up with a selection of hugely talented collaborators, including the likes of Pola & Bryson, MC GQ, Makoto, Charli Brix, SOLAH, and many more, 'The Time Is Right' sees DJ Marky serve up a heartfelt, vigorous, and personal sonic journey that undoubtedly presents his most meaningful and complete body of work to date.

As a love letter to his peers, fans, collaborators, and the D&B scene as a whole, this latest album from one of D&B's biggest icons captures the brilliance of his innate ability to intertwine different cultures and music in a mesmerisingly effortless manner.

Through the deeply-personal and emotive feels of 'Colours Of My Mind ft. Pola & Bryson', future anthems such as 'Natural Feeling ft. Charli Brix & Alibi' and 'Back & Forth ft. Melinki, D'Cypher, Harry Shotta & GQ', certified club hits like 'Wrong Hands ft. L-Side, and many other gems embedded throughout the album, DJ Marky further cements his reputation as one of the most unique, talented, and iconic artists to ever grace the drum and bass scene.