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Oriental Beat by Hanoi Rocks gets the redux treatment, officially mixed and revived from the original sessions, and released on March 17th on deluxe vinyl, CD and digital formats. The CD and vinyl come with the song lyrics, checked and approved by Michael Monroe. Dubbed the “re(al) mix”, this 40th anniversary edition was mixed by Petri Majuri at E-Studios in Finland in collaboration with the band. Vocalist Michael Monroe calls this release “the longest and slowest album project ever,” stating that “40 years in the making, it's not just a remix, but the REAL MIX supervised and approved by Hanoi Rocks”. Recorded in London, UK in 1981, for 200 pounds a day, Oriental Beat was made during the height of the British punk + New Wave movement, when the band was hanging out with everyone from Phil Lynott to the Damned. Hanoi Rocks’ original drummer Gyp Casino says of Oriental Beat that: “Back in the days we gave heart, soul and a bit of pain to make this record something else” but the sound of the album, originally released in 1982, did not match their efforts at the time. Bassist Sami Yaffa called it “the worst sounding album of our career” and Michael Monroe said that “the producer of the album didn’t have a clue what the band was about and his mix of the album was horribly wrong”. Oriental Beat’s original engineer Peter Wooliscroft, was not a rock producer, and according to Hanoi Rocks’ manager Richard Bishop he “tried to mix the album to sound like Spandau Ballet”. Released before the band could remix or rerecord it, as the label had run out of money, and the master tapes had gone missing, the band has always considered the original mix of Oriental Beat to be a “disaster”. With the tapes mysteriously showing up in the Universal vault recently, the band was finally able to mix and resequence the album the way they wanted it to sound. Oriental Beat is a defining masterpiece made when Hanoi Rocks was about to explode onto the world scene and written at the absolute peak of lead guitarist Andy McCoy’s creativity as a songwriter. Rhythm guitarist Nasty Suicide says “only now, with stripping it down to the bare essentials and tweaking it to bring out what was really laid down it became our dream come true! THIS is what it's all about” as this definitive edition of Oriental Beat now fully displays the ultimate arrogance and attitude which defined the band.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘Hombre Lobo’,
‘End Times’ and ‘Tomorrow Morning’, released via
E Works / PIAS. EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and
North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed 2022 record, ‘Extreme Witchcraft’, which found praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

There’s something almost magical about a great
collaboration. When two artists are able to
synchronize on an infinitesimal level, where each
note and breath and strum aligns to create a
perfect whole. The Colorist Orchestra know how to
do this - in fact, they’ve made it their speciality. Since 2013, the Belgian duo (comprised of multiinstrumentalists and long-time friends Aarich Jespers and Kobe Proesmans) have made a
career out of reimagining the discographies of a wide array of artists, using their background in
pop, electronic, and world music to transform the songs. Recently, they have reconnected with acclaimed
Icelandic singer-songwriter Emilíana Torrini, with whom they first collaborated in 2018, on the album, ‘The Colorist Orchestra & Emilíana Torrini’. This time, however, the project exceeded even
their own expectations. In 2023, The Colorist Orchestra and Emilíana
release ‘Racing The Storm’, a joint record tha takes both artists to towering new heights. An album of all original material, it melds The Colorist Orchestra’s classical chamber pop roots with the
power and fragility of Emilíana’s understated
songwriting. LP pressed on 140g white vinyl in 350gsm spined
sleeve on silver foil board with 200gsm reverse
board inner sleeve

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.

Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde.

Als Secret Discovery 2006 in die Zeitmaschine stiegen, ahnten sie noch nicht, dass sie 17 Jahre später, im Jahr 2023, mit einem neuen Album aussteigen würden. Dabei herausgekommen sind 9 brandneue Songs – über Liebe, Hass und menschliche Abgründe sowie über soziale und gesellschaftliche Missstände.

Von atmosphärisch, melodiös und indielastig bis hin zu brachial, metallisch und hart präsentieren sich die Songs in alter Secret-Discovery Manier mit einem guten Schuss musikalischer Reife. Eingängige Hooks, hypnotische Melodien zwischen Nostalgie und Aggressivität, eingebettet in runde Arrangements und expressive
Harmonien - auf den Punkt gebracht durch Kai Hoffmanns charismatische Stimme.
Charakteristisch ist die für die Secrets typische perfekte Symbiose aus Rock und Elektronik.

Auch als Special Edition im Digipack erhältlich! Aufgepeppt mit 3 nagelneuen Bonustracks als Ergänzung zum Standard Album sowie 2 Remixen und eine bearbeitete Version des Songs „In My Life“ der Band „Alice2“. ’In my Life’ ist eine extended Version mit einem Gitarrensolo von keinem geringeren als Gitarrenlegende Axel Rudi Pell!
Die 2 Remixe von ’Dein Reich’ könnten unterschiedlicher nicht sein: Eine Electronic Dark-Dance Version sowie eine Extended-Guitar Version von Dirk Riegner , der unter Anderem bei Peter Heppner für die Keyboards verantwortlich ist.

London four-piece Crows will release their highly anticipated second album, 'Beware Believers', on April 1st 2022 via Bad Vibrations Records. Conjuring a dark and visceral post-punk that's been hardened by years of notoriously rowdy live shows, Crows have amassed a legion of die-hard fans since they formed back in 2015 and cultivated a singular, much-adored presence in the British alternative music scene. Equal parts ferocious and hedonistic, the incoming 'Beware Believers' LP arrives off the back of their critically acclaimed 2019 debut 'Silver Tongues', international touring and festival appearances, and shared stages with the likes of IDLES, Wolf Alice, Girl Band, Metz, Slaves and Protomartyr. Following the release of their long-awaited debut album on the IDLES-run Balley Records back in 2019, Crows immediately set to work on its follow-up and by January 2020 they were already back in the studio tracking what would become the 'Beware Believers' LP and then Covid hit. "Once we knew Covid was here to stay, we took the first break we've taken since we released our first single 'Pray' in 2015. Being locked down for three months unable to finish the last bits of the record was very frustrating but it did mean we could come back to the album with fresh ears and make sure it sounded like it should: a true representation of Crows." Loud, cathartic and abrasive a quintessential Crows record it certainly is. "Beware Believers has felt like a marathon, a real endurance test that's been a long, winding road filled with highs and lows and plenty of twists and turns", frontman James Cox says: "The majority of the themes on the album came from what was going on in the world around Summer 2019 when we started writing the album. Covid wasn't in our lives and the biggest impact was Brexit and the madness our government were putting us through. I was reading a lot of J.G. Ballard and Kurt Vonnegut, mad dystopian novels, whilst all this craziness was going on around us and it was a weird headspace to get into."

Auf dem neuen Longplayer Crime Scene lenkt die bayuwarische Artrock-Institution ihre Aufmerksamkeit auf das Morbide, das Perverse, das Böse im Guten, die Abgründe des menschlichen Verhaltensspektrums in all seiner unvorhersehbaren Vielfalt, die dann manchmal auch so bizarr verstörend schlüssig daher kommt, wenn man denn ansetzt sie ergründen zu wollen.
In sechs dicht-atmosphärischen Tracks haben sich RPWL wieder einmal auf intensive Reisen durch die eigene Bandvita, als auch die jeweils eigenen Plattensammlungen begeben. Das Bemühen von Vergleichen ist immer so eine Sache, denn immerhin ist dies die 19te Veröffentlichung dieser international erfolgreichen Band. Die teils morbid-düsteren Themen werden mit old-school Fuzz konterkariert, das knapp 13-minütige "King of the World" mit seinem knurrenden Big Muff und seinen flächigen Vibes, oder "Life beyond Control", das mit seinem Offbeat-Einsatz sicher zu den härtesten Stücken in der RPWL Diskographie gehören dürfte, legen ihr Geständnis auf der Crime Scene ab. "Live in a Cage" bringt das das Kalkül des wie immer akribischen Sounddesigns dieses neuen RPWL-Albums auf den Punkt, nahtlos schließt sich "Red Rose" daran an. Pflaster auf Schusswunde als Prinzip. Aber der Wahn der normalisierten Gewalt wabert in so vielen Haushalten unter der vermeintlichen Harmonie, die die vier Musiker hier den Hörer glauben lassen. Wie fühlt es sich an, überhaupt kein Konzept von Freiheit zu haben, die Angst die bürgerliche Sicherheit zu verlassen aber größer ist? Allein im Lockdown-Jahr Jahr 2020 erfasste die Polizei über 119.000 Fälle von partnerschaftlicher Gewalt, 139 davon mit tödlichem Ausgang, die sich in über 80% der Fälle gegen den weiblichen Part in der Beziehung richteten.

Yogi Lang kommentiert aus künstlerischer Perspektive er sei schon immer von gesellschaftlichen und persönlichen Schattenseiten fasziniert gewesen. Kalle Wallner stellt die Gretchenfrage, wie man es denn mit dem Bösen an sich halte: "Wer macht uns zu dem wer wir sind? Ist es eine Frage der Genetik oder sind es doch die sozialen Umstände, unsere Kindheit, Schicksalsschläge, Druck oder Kränkungen?"

Das ‚Böse' bildet eines der Kernthemen auf Crime Scene, welches über das Band-eigene Label Gentle Art of Music erscheint. Als wertig aufgemachtes Digipak, drei unterschiedlichen Vinyl-Versionen (180Gr. Schwarz, 180Gr. Lim. Rot, 180Gr. Lim. Blau) und natürlich Digital.

eclipsed - Album des Monats:
"RPWL ist damit ein geradezu kriminell spannendes Werk gelungen. ....Auf "Crime Scene" spielen RPWL alle ihre Stärken aus. Tatorte gesichert. Fälle geklärt. Mission erfüllt. ... Wuchtige, cineastisch anmutende Arrangements, wunderschöne Melodiebögen, bewegende, leise, behutsame Momente und ein ausgesprochen spannendes Konzept hinterlassen einen starken Eindruck..."

SLAM (Highlight März/April)
Wieder einmal haben die bayrischen Artrocker RPWL ein Konzeptalbum am Start und wieder einmal kommt nach dem ersten Durchlauf der übliche Gedanke: Das ist absolut großartig, aber man hat keine Ahnung warum genau. Was haben die in Freising in ihrem Wasser, das ihnen erlaubt zu scheinbar egal welchem Thema eine Klangwelt zu bauen, die es so kein zweites Mal gibt? (...) Man kann gar nicht hoch genug einschätzen, wie wertvoll die Existenz so einer Band ist, es bleibt am Ende ein einfaches "Danke".

"Wir wollten ein Album schreiben, das unseren Sound widerspiegelt - aber wir wollten ihn noch weiter ausbauen und vertiefen", sagt MALEVOLENCE-Frontmann Alex Taylor. Mit ihrem dritten Album, Malicious Intent, haben die aus Sheffield stammenden MALEVOLENCE genau das getan. Fragen Sie jeden, der sie gesehen hat, wie sie kleine Hardcore-Gigs im Druckkessel in Brand setzten und auf großen Metal-Festivals riesige Pits entfachten. Jeder, der ihren Auftritt bei Bloodstock 2021 gesehen hat, weiß, dass dies ihre große Stunde ist. MALEVOLENCE ist wirklich angekommen. Gegründet im Norden Englands, hat MALEVOLENCE einen eigenen Sound perfektioniert, der wie eine Band aus New-Fucking-Orleans daherkommt und gleichzeitig die Kraft des Riffs und die Brutalität des Breakdowns verinnerlicht hat.

Berlins vielleicht wichtigste Rock-Band Kadavar schlüpft mit den US-amerikanischen Prog-Rock-Wunderkindern Elder unter eine Decke. Entstanden ist mit der Ausnahmeerscheinung 'A Story Of Darkness & Light' ein Wunderwerk der musikalischen Libertas, ein ausuferndes Werk zwischen Rock, Prog und Alternative, zusammengehalten von den Gegensätzen beider Bands.

Tiger Bartelt, Lupus Lindemann und Simon Bouteloup von Kadavar sowie Michael Risberg, Nick DiSalvo und Georg Edert von Elder (Bassist Jack Donovan durfte nicht aus den USA einreisen) extrahieren der Ursuppe des Rock auf ihrem Kollaborationsalbum jene arkane, schwer greifbare Magie, die nur dann entstehen kann, wenn alles fließt. Wenn nichts den Schaffensprozess stört, kein Druck von außen oder innen herrscht. Fest steht: So geatmet wie auf 'A Story Of Darkness & Light' hat die Musik beider Formationen noch nie. So vielfältig, überraschend und manchmal auch sonderbar auch nicht.

High Roller Records, black vinyl, extensive 24 page booklet, Gemeinhin wurde Epic Doom Metal in der Vergangenheit überwiegend als Hoheitsgebiet amerikanischer (Warlord) oder schwedischer (Sorcerer) Formationen angesehen. Durch den Erfolg von Atlantean Kodex ist allerdings auch Deutschland in letzter Zeit auf der Landkarte erschienen. Nicht zuletzt dank Hoffnungsträgern wie den 2014 in Landstuhl, Rheinland-Pfalz, entstandenen Lord Vigo. Nach »Under Carpathian Sun« (2015), »Blackborne Souls« (2017), »Six Must Die« (2018) sowie »Danse De Noir« (2020), erscheint jetzt das neue Meisterwerk namens »We Shall Overcome«.

High Roller Records, black vinyl, extensive 24 page booklet, Gemeinhin wurde Epic Doom Metal in der Vergangenheit überwiegend als Hoheitsgebiet amerikanischer (Warlord) oder schwedischer (Sorcerer) Formationen angesehen. Durch den Erfolg von Atlantean Kodex ist allerdings auch Deutschland in letzter Zeit auf der Landkarte erschienen. Nicht zuletzt dank Hoffnungsträgern wie den 2014 in Landstuhl, Rheinland-Pfalz, entstandenen Lord Vigo. Nach »Under Carpathian Sun« (2015), »Blackborne Souls« (2017), »Six Must Die« (2018) sowie »Danse De Noir« (2020), erscheint jetzt das neue Meisterwerk namens »We Shall Overcome«.

High Roller Records, black vinyl, extensive 24 page booklet, Gemeinhin wurde Epic Doom Metal in der Vergangenheit überwiegend als Hoheitsgebiet amerikanischer (Warlord) oder schwedischer (Sorcerer) Formationen angesehen. Durch den Erfolg von Atlantean Kodex ist allerdings auch Deutschland in letzter Zeit auf der Landkarte erschienen. Nicht zuletzt dank Hoffnungsträgern wie den 2014 in Landstuhl, Rheinland-Pfalz, entstandenen Lord Vigo. Nach »Under Carpathian Sun« (2015), »Blackborne Souls« (2017), »Six Must Die« (2018) sowie »Danse De Noir« (2020), erscheint jetzt das neue Meisterwerk namens »We Shall Overcome«.

High Roller Records, black vinyl, extensive 24 page booklet, Gemeinhin wurde Epic Doom Metal in der Vergangenheit überwiegend als Hoheitsgebiet amerikanischer (Warlord) oder schwedischer (Sorcerer) Formationen angesehen. Durch den Erfolg von Atlantean Kodex ist allerdings auch Deutschland in letzter Zeit auf der Landkarte erschienen. Nicht zuletzt dank Hoffnungsträgern wie den 2014 in Landstuhl, Rheinland-Pfalz, entstandenen Lord Vigo. Nach »Under Carpathian Sun« (2015), »Blackborne Souls« (2017), »Six Must Die« (2018) sowie »Danse De Noir« (2020), erscheint jetzt das neue Meisterwerk namens »We Shall Overcome«.

Orange Vinyl

Das Debüt der Kollaboration von Malcolm Middleton (Arab Strap) und Joel Harries ist eine Platte, die beweist, dass man auch aus Spaß an der Freude kreativ sein kann und sollte. Das Debüt wird in limitierter Auflage auf orangenem Vinyl erhältlich sein.

Mit 'Rest Lurks' erscheint das Debüt des neuen Projekts von Malcolm Middleton (Arab Strap) und Joel Harries auf dem beide Musiker frei nach dem Motto "trust the process" sich einer instinktiven Spontaneität hingeben. Rest Lurks ist ein Album, das beweist, dass man auch aus Spaß an der Freude kreativ sein kann. Das Album fügt sich zu einem Sammelsurium zusammen, das die Talente von zwei Musikern unterstreicht, die ihre Songs nicht schreiben, weil sie es müssen, sondern einfach, weil sie es brauchen. Lichen Slow ist eine Band, die uns dazu aufruft, die kleinen Momente zu genießen und, wenn es hilft, sich über die Dinge lustig zu machen, die uns am meisten frustrieren, und die alle Erwartungen, die wir an uns selbst und andere haben, über Bord wirft.

Bottle Rockets leader Brian Henneman
worked as Uncle Tupelo’s guitar tech
for a couple of years before forming an
alt-country band that rivalled his former
bosses. Released in Atlantic in 1997,
24 Hours a Day represented The Bottle
Rockets’ chance at the big time; it’s
their sole major label release, and they
pulled out all the stops for this one,
hiring former Del Lord Eric “Roscoe”
Ambel to produce and revisiting
“Indianapolis,” the song that got Henneman a record deal back in the early
‘90s. Alas, the record failed to break through commercially; but there will
always be a place in our hearts for this kind of hard-driving, honest, tuneful
rock and roll, best exemplified by “Perfect Far Away” and “When I Was
Dumb.” For its LP debut, we’re pressing this underappreciated classic in
coke bottle (natch) clear vinyl housed inside an album jacket with inner
sleeve…limited to 1000 copies!

Second part of the legendary "Screen" series.

It was hard to imagine a follow up to Yellow Screen as it was so successful. The pressure on our shoulders was quite high and rightly so, so we had to outdo ourselves for sure.

The first one to be « see the light » was New-York Philharmonic. A tasty mix of breakbeat, techno and trance. The main melody is just hypnotizing and gives a real feeling of escape. This track was chosen to be the main track of the EP.

Strawberry Milk is the most "underground" track of the EP. It is above all a personal pleasure of producers & composers in studio. We knew that New-York Philharmonic was going to be a hit so we had fun without any pressure on this track. It's a much more "mental" track that still gives off a certain melancholy.

Friday Sickness is without a doubt Mr Sam's favorite of all the tracks in the "Screen" series. It just contains all the elements that make a track perfect. It was as its name indicates composed and finished on a Friday when Mr Sam was sick.

The track was played the next day on CD at La bush and gave the audience a great moment of emotion. Mr Sam knew right away that the track was going to be a big success.

This EP is a perfect symbiosis of Mr. Sam's and Fred Baker's vision and proved that their relationship would only result in one classic release after another. The duo was only at the beginning of a great journey.

For a quarter of an hour, Zürich was the navel of the world. Let's look back: at New York's CBGB's, pre-punks were shredding away, Malcolm McLaren, as a man with a fine-tuned taste for the hip, imported the sound to London, where his sweetheart Vivienne Westwood dressed the test-tube band The Sex Pistols. A few pop magazines later (we are in an analog world!) punk bands sprouted everywhere, like shiny pimples on poorly fed teenagers. Contrary to legend, even back then, it was often those with a musical background who were the most successful. One such example, Henrich "Wüste" Zwahlen, who had learned the violin, attended a jazz school and went into prog-rock before joining the Nasal Boys, one of the first punk bands in Zürich. The scene included the female band Kleenex (cover: Fischli of art heroes Fischli/Weiss), whose minimalism was praised by the London music press, while the world's most important rock theorist, Greil Marcus, wrote an ode highlighting Zürich's role as the birthplace of Dadaism. A fertile ground for the militant youth movement that exploded in 1980 and stirred up the city of banks, protestantism and boredom with raw wit and expressive violence. Gathering at concerts of local bands and fueled by endogenous and artificial substances - they paid homage to exuberance and self-indulgence.
The mantra of "everything-is-possible" was driven forward on the musical front by progress in terms of means of production: analog electronic instruments were no longer reserved for hippie nerds, who sat in front of large plug-in boards like autistic-psychedelic switchboard operators connecting cables for their sound carpets. Now snazzy stage personnel elicited fast-paced sounds from handy devices often made in Japan. Kraftwerk was fashionable, the Zurich duo Yello experimented with new synthetic sounds, and the groundbreaking album "Alles Ist Gut" by the Düsseldorf based duo D.A.F. (Deutsch Amerikanische Freundschaft) was released, which chanted its program of provocation times danceability with lines such as "Tanz den Jesus Christus, tanz the Mussolini, tanz the Adolf Hitler." In England meanwhile, electronically backed New Romantic bands were replacing New Wave. The Human League, Heaven 17, Duran Duran, OMD, Depeche Mode or Visage stormed the charts.
In Zürich's underground, the duo Aboriginal Voices caused a stir at that time. A couple, good-looking, styled, looking cool into the cold neon light, with a danceable beat and sequenced electro sounds, to which Micheline gave a very unique touch when she sang in French and English. Micheline had a classical piano education, had left home early, worked as a lighting technician in a strip joint and at Booster, the hottest boutique in town (one of the relicts that still exists). Voilà: a musician who was as stylish as she was tough. She was already playing with Wüste in the band "Doobie Doos", a band where everyone played an instrument they didn't master. In 1980 the Aboriginal Voices were formed, initially with vocalist Magda Vogel (of later UnknownmiX fame), who was trained as a classical singer.

Frustrated by organizational friction and constant hassles with band lineups, Wüste and Misch decided to do everything as a twosome: self-mixed, self-styled, self-produced. With the top-of-the-line Linn drum machine clocking the beat, Wüste's guitar and Micheline on the Yamaha synthesizer created a unique sound of danceable electronic music. Whereby the Aboriginal Voices acted as a kind of proto-influencer, receiving the latest equipment to try out, especially since they made it a point not to work with tapes, but to design everything for live shows. They had an interface built for the legendary Roland MC-4B, who sequenced the modular Roland System 100M but where one output controlled a light show synchronized with the sound. A pioneering act that fit well into the DIY spirit of punk, with its self-distributed tapes and fuck-you attitude towards the cretins of the music industry. Consequently only two cassettes and an EP were released. There was something futuristic about the sound, the vestiary style and the electronics, while the attitude remained rebellious. Of course something so deeped in the Zeitgeist wasn't meant to last. Wüste moved to New York, Micheline stayed in Zurich, both still active in the music scene to this day.

Sven Regener, head of the band Element of Crime and one of Germany's most successful pop writer said a few years ago when asked if he knew of any Swiss music: "Of course! In 1983, a Swiss band called Aboriginal Voices played with us at a festival in Zurich. Great, avant-garde electro-pop. That was my first encounter."

If you ever saw them live, you never forgot them, and so over the years you belonged to a teeny-tiny circle of insiders, happy to be joined after all these years by new aficionados who appreciate the sound of that quarter-hour, when Zurich was ravishing, creative and exciting.

- Thomas Haemmerli

For Erika's second album "Anevite Void", she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. "Anevite Void", Erika's new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her. Conceptually, this album was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in." From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes "each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host." Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void" in early 2023.

repressed !

***Taken from Leaked Whatsapp messages between DJ Absolutely Shit and Il Bosco***

Yo cousin Bosco...how's ya raisin widge?

Nice one for that last lot of dough i'm starting to well buzz off all this music industry bollocks now you know...mad what you can do with a catchy DJ name and pure absolutely mega tunes wot are miles better than anyone elses init?

Anyway i've been diggin' me fuckin' 'ed off ant I recently and got some more well primo gear for yas here...done 8 this time - was thinking if i'm managing to sort me life out banging out EPs for yas - if I do and album or two i'll be mega wedged in no time deffo init.

Yeah i'm thinking fuck this i need to get out this rank shit-hole quicktime... spotted this sick 3 bed thatched cottage gaff in Cadishead the other day, well smart. Detached n everything G, so can deffo get a proper grow on in there piece of piss. Gran's doin me ed in n all here G, big style the old slapper. She keeps robbin' me cash!
Turn me back for 5 mins and she's fuckin chonged it all the little turd... fuckin fuming ta fuck g cant wait to do one from that shitty flat...and if she thinks she's keeping me dodgy sky box she suck me widge haha.

Anyway shout me soon init. fuck knows what to call this album g. ask Pharaoh to come up with a name for it the turd. i can't be arsed thinkin... Seen him the other day actually bumped into him and that Crispy Duck guy who does those sick comics. They was outside some posh coffee gaff in Ancoats with a few other chumps lobbing bricks at a pile of other bricks down near the canal drinking pink hooch the turds. Get em to do the artwork for it n all g. if they want paying or owt tell 'em to suck me widge haha.

Nice one

Tartelet Records is thrilled to present the debut album from Doc Sleep – 10 tracks of exquisitely rendered melodies and rhythms shaped with grit and beauty in equal measure. Birds (in my mind anyway) is a widescreen vision of electronica as a medium to express your personal situation and respond to your environment – a rave adjacent art form free from the perceived rules of the dancefloor. To date, Melissa Maristuen known as Doc Sleep has established herself in the context of the club – first engaging with the culture in San Francisco before moving to Berlin. She helps run the Room 4 Resistance party, DJs on Refuge Worldwide, co- owns the Jacktone label and has released on Detour, Dark Entries and her own label. But in making Birds (in my mind anyway) she set herself an ultimatum.

“At the time of recording this album, my life, all my routines and priorities had to change – music was no exception. I decided if I couldn't be happy making an album free of the dancefloor, I was finally going to be done with music. Instead, I found a musical voice free of tempo and textural restriction. Eventually, I had a sound, and once I had the sound, the album came pretty quickly. It was a very different process writing music for no one...except myself.”

If the impression given is one of a consistent style across the album, think again. Doc Sleep moves freely between tempos and themes, even if there are some recurring qualities binding the music together. She weaves fluttering arps with poise, lending them an almost choral quality which gives the album a very human touch. But they’re equally emotionally ambiguous or pockmarked with sonic interference – reflections of the collisions and conflicts
that typify the human experience.

Every inch of the album is a personal touch – the title was pulled from Doc Sleep’s mother’s response to hearing the album, while her friend Kiernan Laveaux offered a beautiful text which appears on the back. Those closest to her all fed into the artwork process, which captures the curious dichotomy between urban brutalism and botanical finery often found in the parks of Berlin – a vital place of respite when she was making the album.

The superb Make Up series hits release number three and in doing so heads back to the trio that started it all. The combination of Chicago house originator Chez Damier, Adeen label head Camille and Italian talent Nico Lahs is a dream team indeed and they serve up some crucial edits that cover a wide sonic range. There are standout cuts on the first 12" such as 'Dance to Freedom' and 'African Bump' while jazzy grooves define 'Sunny' and 'Changes' is all about getting that dance floor vibing. This is another in-the-know musical voyage from this crew that more that deserves a spot on your shelves.

Mikal Asher hails from the legendary reggae group Morgan Heritage and he was behind plenty of top musical moments. His vocal work here comes on top of original off stems from disco don Gary Davis, but served up with all-new fire in the form of two mixes by DJ and producer Knoe1 and Warehouse Preservation Society. Knoe1 goes first and flips the OG into boogie-laced funky stepper with squelchy bass and lush melodies. Warehouse Preservation Society then go for a more heavy, percussive and dubbed-out house cut that has tropical sound effects and humid grooves to make you move. All this comes on a mega limited 7" that is sure to vanish in quick time.

It is with a singular pleasure that we welcome Marc Romboy to the ever growing stable of live artists at ASW!

Marc Romboy is an artist renowned within the electronic scene for his eclectic, boundary-pushing approach and decades worth of experience working both behind the scenes and behind the decks.

In recent years he has embraced performing live as another creative outlet and, indeed, creative challenge. As an artist and performer, Marc has always pushed the boundaries of his creativity and this, Marc’s first studio album in 6 years is a true masterwork of techno from one of the masters of the genre.

Growing up in the West of Germany close to the borders of both The Netherlands and Belgium, Marc was always instinctively drawn to music. He would attend the acid house parties prevalent in the area, with an epiphany of sorts on the dancefloor of Front club in Hamburg in 1987. An avid record collector, he would listen to Krautrock, breaks, Italo disco, Chicago house and more, and experienced some of the first all house and techno clubs in Europe; the legendary Roxy club in Amsterdam and Dorian Grey in Frankfurt. Learning to DJ, and later on produce, was a natural step.

He founded the ’Le Petit Prince’ imprint in 1993 as a platform for the music of friends he was playing out, which went on to be named Label Of The Year by various German electronic music publications the following year. Its reputation led Marc into collaborating with other DJs to manage their labels too.

Meanwhile, Marc went on to notch up an impressive discography of EPs, tracks and collaborations, carving his own sound; emotive, versatile, and featuring distinctive basslines.
2004 was a landmark year for the artist, with the beginning of his own, completely self-run label Systematic. Since It's birth, the label has provided a home for productions from the likes of Robert Hood, Kenny Larkin, Omar-S, Terrence Parker, Timo Maas, kINK and many more. It also provided the platform for Marc’s first album, ‘Gemini’ in 2005, followed by four further LPs; 2008’s ‘Contrast’, 2009’s ‘6 Monde’ with Stephan Bodzin (which birthed the pair’s now-legendary track ‘Atlas’), 2013’s ‘Taiyo’ with Ken Ishii, and 2014’s three-disc retrospective compilation ‘Shades’. And his collaborative orchestral LP ‘Voyage de la Planète’, Marc’s forward-thinking last album. Pushing the boundaries between classical and electronic music, it makes for a moving , atmospheric outing for the producer - “I feel like there are still a couple of beautiful sounds to create”.

Marc’s output has been exemplary and with his inspiration rising for performing live he now brings us the wonderful “Music Made for Aliens”. A work of true electronic inspiration. Marc will be performing live at ASW events coming up soon.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers. One such admirer is one of the UK's longest serving DJ's and editors, a truly legendary Northern selector who's unique reel to reel DJ sets and reworks has gained him fans worldwide and continues to do so. Ladies and gentlemen, we give you Greg Wilson's West End versions, 4 tracks of unparalleled funk touched by the man himself who has also kindly supplied some choice words about this special release:

"West End has a particular place in my heart. Along with Prelude, it was my main go-to label during the early '80s, an underground New York powerhouse issuing a relentless run of now classic and cult-classic club cuts during the time I was DJing at Legend in Manchester. For me personally, the label is forever connected with this then futuristic venue, West End's progressive approach to dance music, incorporating electronic elements to play a key role in ushering in the Electro-Funk era, finding its perfect environment at Legend, with tracks by Stone, and especially the Peech Boys' hugely influential 'Don't Make Me Wait', providing major stepping stones. This is a project that holds a deeper resonance for me, given my personal relationship with the label, and I'm so happy to contribute the series; the 4 favourites tracks I selected for this release illustrating West End's best qualities - serious grooves and soulful vocals.

The edit of 'You Can't Take Your Cake And Eat It Too' by B.T. (Brenda Taylor) was originally featured on my first Credit To The Edit compilation, back in 2005, whilst Raw Silk's 'Do It To The Music' was also edited around the same period, but has never been made available until now. 'Keep On Dubbin'' by Forrrce, although not as big as the other inclusions at the time, was an ahead of its time hybrid, mixed by Francois Kevorkian, whose dub awakening had taken place the previous year, and Shirley Lites 'Heat You Up (Melt You Down)', which draws from the instrumental 'Melt Down Mix', the version of choice at Legend, where dub and instrumental mixes often trumped the main vocal versions"

A truly golden era of dance music history, all killer - no filler! All tracks featured re-edited by Greg Wilson and re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG. '

Mood II Swing classic from 94... Often imitated never bettered.
Contains the epic Mood II Swing dub - one of their best Dub's of all time plus all the original mixes.

If you don't own a copy of this now if your chance to have this benchmark in house music's history.

Beautifully re mastered and repressed for 2015 in conjunction with King Street Sounds.

Bonus LP with Etching. Oblivion Hymns is the sixth studio album by American ambient/post-rock band Hammock. It was released on November 26, 2013 by the band's own label, Hammock Music. Oblivion Hymns was met with positive critical reception and hit No. 17 on the Billboard Top Heatseekers Album Chart in 2013. Mike Diver at Clash magazine loved the album, stating that Oblivion Hymns is "…some of the most blissful music Clash has ever had the luxury of bathing in. Hammock has gone on to become one of the foremost purveyors of affecting ambient post-rock on the scene." John Diliberto, the host of Echoes, listed Oblivion Hymns as No. 8 in the "25 Essential Echoes CDs for 2013" as an album that represented the best, most innovative aspects of the ambient music soundscape in the past year, stating that "Hammock goes deeper into their ambient chamber music with children’s choirs emerging out of swirling deeply processed guitars."

Connections by Satya is a February exclusive edition and a token of love for the year ahead. Gathering to spark an electrifying synergy, Connections is all about finding that blissful meeting point that can be achieved once we mindfully align on values, sentiments and musical sensitivities. These pillars hold up Connections’ core foundations and shape a new philosophy construction for the label. By merging four finessed tracks mastered by four invested musical minds, Satya takes a new turn for collaborative musical alchemy in the sense that Connections’ production is balanced, tasteful and touching. Each artist’s culture subtly seeps into each track and speaks volumes of their character in and out of the studio. Space Invaders, Aurora, Mentat and Spaces hold many keys to unlocking doors to full transparency and connectivity through our senses in the simplest of ways.

“These are cosmic sounds that you can get lost in and go anywhere you feel safe and adventurous.” - Zone+

Electronic duo Pale Blue return to Crosstown Rebels with ‘No Words’, the second single from their forthcoming album ‘Maria’, with remixes from DJ Tennis and Perel.

Italians Do It Better founder Mike Simonetti and Silver Hands’ Elizabeth Wight’s rich and storied careers within the electronic realm and beyond only elevated further with the launch of their Pale Blue project in 2015, unveiling a series of critically acclaimed releases via Simonetti’s 2MR imprint with plaudits including Pitchfork, FACT and Resident Advisor, to name just a few. Having provided the first look into their forthcoming album on Crosstown Rebels entitled ‘Maria’, scheduled for release on the label later this year, the pair return to open March with the second single from the project, ‘No Words’ - accompanied by remixes from DJ Tennis and Perel.

Detailing the backstory to the record, Simonetti notes both upcoming single ‘No Words’ and the majority of the tracks on the duo’s forthcoming album project were made on the exact synths used to create Jaydee’s iconic 1993 hit, ‘Plastic Dreams’.

Guided by a captivating bassline accented by Wight’s charming vocals, which flutter amongst the mix, ‘No Words’ is a hooky and compelling production that ebbs and flows across its near five-minute duration with effortless ease, capturing the playful nature alluded to by Simonetti. Life and Death head honcho DJ Tennis’ remix arrives next, veering down a hazy yet absorbing path as crisp organic drums and engrossing melodies form around the vocals and journey through light and dark textures.

The B-side of the record belongs to DJ/producer, vocalist and DFA Records favourite Perel, offering a cosmic dive through spacey synths, skittering bleeps and pops, and tough kicks across her take on the production - before distorting and warping the vocals and shifting the emphasis on the ever-evolving electronics across her ‘Dub Version’.

Hotflush Recordings celebrates 20 years in the game this year, with a triple pack vinyl compilation featuring some of the key musical events in the label’s catalogue.

Born in 2003, Hotflush stands as one of electronic music’s most influential labels. A multi-dimensional imprint that helped define the development of bass music throughout the mid-2000s, in the last decade it would evolve towards the liminal spaces between house, techno, and beyond - a journey which has given the dancefloor some of its true underground classics.

This celebratory release covers every era and stylistic area of the Hotflush output. 2005’s proto-dubstep face melter ‘The Knowledge’ by Toasty kicks off Side A, with the key sides of bass music development all covered with tracks from James Blake, Loefah, Sepalcure, and Scuba.

UK techno legend Surgeon appears with his seminal remix of Scuba’s ‘Ruptured’ (2008), while the early Paul Woolford classic ‘MDMA’ reminds us of how ended up working with Diplo.

George FitzGerald and Recondite reprise some of their key formative material, while newer names Lawrence Hart, OR:LA and breakout Seoul artist Closet Yi also make appearances.

Canadian mastermind Jacques Greene rounds off the release with his slamming remix of Kiimi’s Breaking My Mind.

This is a compilation 20 years in the making, containing some of the key tracks from the electronic underground - curated and compiled by label boss Scuba.

Dismantling the acoustic to feed the electronic, Editions Mego presents Telepath, the new album by Material Object. Born out of a single improvised recording session with a lone Violinist, Telepath is a startling album of future electronic music, resulting in an LP of unique and timeless tracks that reimagine a classic sound for an endless future.

Boldly departing from his previous canon of largely 'ambient' work, Material Object's Telepath renders itself out as something much stranger, something more spacious, more subtle and gradual. Moments of bouncing minimalism meet moirés of delayed pure tones phasing in and out of resolution, giving way to a series of strobing foreground gestures arranged and offset in disorienting landscapes which scatter themselves asymmetrically amongst crystal pools of reverb.

Revelling in the creative dismemberment of the original source material, Material Object slowly and patiently induces the violin to undergo every category of torsion, pressure and rupture. Its vivid acoustic qualities pass over and across the event horizon of the digital domain. Shattering then crystallising into points and coordinates, intersections, disjunctions, planes and reverberant figures. An uncanny geometry perceived only between the ears, at once dissolving and reconstructing itself.

Not to be missed here is the essential, but bonus only, add-on (available with all Bandcamp purchases) "Auxiliary Apparition", a hallucinatory expanse that traverses the same liminal geography as the LP proper but as some refracted, ghostly counterpoint. More nocturnal, overpowering phantasms looming out of a droning noise floor before fading away. A hypnotic and time-dilated recapitulation of what's gone before as if looking back from beyond a mirror. When it finally resolves in the closing moments and returns you home, you realise you haven't really moved at all.

Equally abstract, haunting and daring, Material Object’s Telepath is a singular work that abandons all notions of genre. Erupting with a tension of opposites that unfolds as a truly unique story, told in four dimensions and draped in deafening colour.

Mordisco Records is happy to present the brand new Italoconnection ‚Nordisko‘ The catchiness and sobriety of the songwriting and style of
Scandinavian music is something that keeps attracting us
since many years, so we decided to pay tribute to some of our
favorite artists and songs.

Music coming from the cold, melancholic with a European feel that we always aim to attire in our productions.

Artist and songs coming from different backgrounds that we tried to make ours by adding some of our club friendly sound respecting the original songs attitude.
All the songs were chosen from the repertoire of fairly different
artists, both from the past and present days. Picking from the modern crooner style of Jay-Jay Johanson, past glories like Secret Service and Fake, the early nineties extravaganza of Army Of Lovers, the very unique singer-songwriter flair of Saralunden, the talented duo charm of Carino Cat, the finnish electro disco pioneers Digital Dance and the synthpop innovator‘s Jaakko Eino Kalevi uniqueness, all artists have a special place in our heart.

Available on LP vinyl and CD (including two bonus remixes from On The Radio and Donna Rouge

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Dynamite Cut’s little sister, SKYLINE recordings, the UK’s home of funky beats has only gone and done it again with the one and only Mike Bandoni.

Most notably known as the main man behind UK Funk heavyweights, Funkshone, this sees Mike Bandoni making a welcome return to his solo work for this new 45 on Skyline Recordings. ‘I Thought Of You’ is a delightful slice of Funky Soul/Jazz that sees Mike playing everything! A superb drum sound with layers of Rhodes, live Bass, Clav, Percussion and Organ, the cut is so soulful it hurts. A prefect balance of rhythm and melody and all that we’ve come to expect of Mr Bandoni. The flip features a sparser but funkier tune ‘Matrices’. Elements reminiscent of Money Mark, the Meters and Bob James combine to form a cracking three and half minutes of bliss. Again, a killer drum sound and instrumentation to match. One thing is clear. The new Mike Bandoni sound is here to stay and we here at Skyline Recordings dig it!

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

Madonna is the first and only recording artist to have 50 number 1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna has curated a new collection titled Finally Enough Love which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix is newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas' work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas' compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics and space as tools for sonic composition. His work has been exhibited and performed internationally, including the Portland Institute for Contemporary Art (PICA), Glasgow's Radiophrenia Festival, the Soundwave Biennial (SF) and the Czong Institute for Contemporary Art (CICA). He is currently receiving his M.A. in Sonic Studies at the UdK.

Ben Glas writes… "Anonymous Sextet for Perverted Piano is a conceptual performance piece that combines a traditional grand piano, six long-distance remote controlled vaginal/anal vibrators and the prolonged use of the piano's sustainer pedal.

The six vibrators were strategically (and preparedly) placed atop of the strings of a various grand pianos (and one harpsichord), while random strangers around the globe connected to and operated the sex toys remotely. After the random and unwitting performers had befriended and synced-up with a catfishing account linked to the six individual vibrators and controlled by three different smartphones, they then sent vibrational patterns and pulses to stimulate their assumed target. The then-kinetic vibrators bounced, slid and bopped aleatorically through the tonal possibilities that the piano and piano's soundboard itself permits. The piano's sustain pedal was held down throughout the performance, elongating the triggered notes and the good vibrations.

All tracks on side A are performed by those unwitting performers, while side B's single track was performed with (more than) a little help from my friends (Anonymous (1), Genesis Victoria, Harry Hudson-Taylor and Hayden Dean)." – Ben Glas, Berlin, 16 February 2023.

If there is a space in this place for a voice of this age, it’s still sealed in wax. Above the din of the noise a vocal appears, in calm
reflection, it delivers a message of hope in a time of despair. Ivan Ave is back. A lot has transpired since we last heard him on a
full-length project, there's a lot to ponder as we get into his latest LP, All Season Gear.
On his 4th solo album, Ivan offers a glimpse into the various seasons he and his friends went through in the last three years. All
Season Gear was recorded on highs and lows through a pandemic, through healing, falling in love and observing the chaos that
is the hyper-textual information age. Lyrically an all-weather-proof record, breaking even with with a joie de vivre, backed by
production from the likes of Sasac, Mndsgn, Like, DJ Harrison and Ivan Ave himself.
The Norwegian rapper’s sixth solo release percolates between desperation and buoyancy, through a tide of beats, as Ivan taps
into his signature observations. His lyrics are an astute surveillance that exploit the mundane in a pensive exploration, touching
on hedonistic heights, with a constant focus on the beauty of the everyday.
The Mutual Intentions mouthpiece breezes through a record of wistful sonorities brought together by the larger Mutual intentions
collaboration. Keys swell and bass undulates, as the production convene on vintage aesthetics, repurposed for air-pod traveling.
It extends the sonic palette of his last LP, Double Goodbyes, and plunges the sound deeper than ever before.
Ivan Ave reinforces our vision of him as a voice for our time. A philosopher’s touch-stone in a world where the incongruous prevails over the sincere.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

German masked pianist, composer and producer of modern classical and electronic music Lambert ventures into contemporary jazz with an electrifying and diverse jazz-electronic album. All This Time ranges from mesmerising classic jazz vibes to high-energy, beat-driven alternative jazz fusing electronics, drums, double bass & piano, referencing the sound worlds of Portico Quartet and GoGo Penguin. Released jointly on Verve Records and MercuryKX.

Known as the Soul Queen of New Orleans, singer Irma Thomas (born in 1941) is arguably the most underrated soul singer ever
Although her voice and musical expression are unparalleled, she never achieved the same degree of fame as her contemporaries Aretha Franklin and Etta James.

Nevertheless, her 50-year career has been highly praised in recent years, and she even won a Grammy in 2007. This 18- track vinyl release compiles all of the sessions she recorded with renowned producer Allen Toussaint, who also composed most of the songs. Here is one of America's most distinctive and classic singers, a treasure from the golden age of soul music.

All tracks recorded in New Orleans between 1959 and 1962 and originally issued on 45rpm singles

Dooley-O commands you to STICK YOURSELF! But not before stocking his new 45 please. Bankrupt Europeans (who have previously produced for RA The rugged Man, Roc Marciano, Chill Rob G, Chubb Rock, AG, Phill Most Chill, Rise and MC Juice) started a back&forth with 90s legend and Stezo cohort Dooley-O a few years ago, even recorded a couple of demos but it wasn't until 2021 that we all had a chance to do this properly! Hands down two of the hardest and snappiest Bankrupt Europeans beats to complement Dooley-O's incredible punchlines and murderous flow. Dooley-O shows that not only has he not lost a step since the days of releases on Stones Throw and Lewis Recordings, but if anything his skills have sharpened over the years!

The A-Side is Stick Yourself and sees Bankrupt Europeans bring this absolute head nodder of a beat, heavy but very funky and laced with modular synth sounds and cuts from DJ Grazzhoppa throughout. Dooley-O’s tongue-in-cheek rap style is sharper than Rambo’s knife as he proceeds to encourage you to Stick Yourself or risk being taken out by himself. There is this comedic bravado here that has Dooley-O displaying just how good his rap style is, while between the lines he saying ‘I’m that good, I shouldn’t have to take you out, that’s your job But, If I have to do it, it ain’t gonna be pretty.’ Flipping it to the B-Side for track 2 we have Death Blow that hits hard with a brooding intro before the heavy bass and eastern sounds inject more adrenaline into your veins! Dooley-O continues the lyrical assault he began in Stick Yourself. Here he delivers a cold and calculated volley of witty punchlines with ease. His plan here is plain and simple, which is to deliver a brutal Death Blow to all those suckers left walking and talking

Available in black wax in 250 hand numbered copies in a company sleeve with a sticker.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Bellini: Norma
Opera in two acts · Libretto: Felice Romani
Norma - MARIA CALLAS
Pollione - FRANCO CORELLI
Adalgisa - CHRISTA LUDWIG
Oroveso - NICOLA ZACCARIA
Flavio - PIERO DE PALMA
Clotilde - EDDA VINCENZI
Coro e Orchestra del Teatro alla Scala di Milano
Chorus master: Norberto Mola
Tullio Serafin
Recorded: 5-12.IX.1960, Teatro alla Scala, Milan

Mehen finally returns to spawn aka Amniote Editions with the follow up 4 track EP to the acclaimed "I've Heard A Lot About Harmony EP" from 2019. The amniotic alias of French producer Hadone explores the gritty and melancholic facets of his sound and "Imperfections In The Sun" covers the diversity of Hadone's skill set from club ready heavyweights to delicate breaks in his usual all killer, no filler style.

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.

It's hard not to see the hype around BRUIT= as the next big thing in post-rock. While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT= have no need to prove themselves beyond what they have already achieved so far. Consisting of three musical meditations, Apologie du Temps Perdu Eng. apology for time wasted sees BRUIT= cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT= let the music do the talking, reaching an activism which is more visceral, but all the more personal. "This ambient EP is conceived as a comma between our first album and the next one," explains bass player & violinist Cle'ment Libes about the purpose of this record. "It is an invitation to lose time, a parenthesis in the frantic race of our society." Existing somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: "If you were to turn the picture off, there is a story there and a connection to the characters and the plots." In the same way, through the sweeping strings of «La Sagesse de Nos Ai"eux», the ethereal tape loops of «Re^veur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open. RIYL Hans Zimmer, Nils Frahm, Godspeed You! Black Emperor, Balmorhea, Max Richter, Olafur Arnalds, A Silver Mount Zion, Boards Of Canada

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

"Il mio nome è Nessuno" (My name is Nobody) is an a typical western,
difficult to classify as it's placed halfway between the founders of the
genre of the '60s and the comedies of the following decade
Sponsored and partly directed by Sergio Leone, it came out in 1973 and received great success, thanks to the presence of the actors Terence Hill and Henry Fonda, in perfect balance between a light- hearted comedy and the more serious 'spaghetti western' genre.

The music is written by the genius of Ennio Morricone, who writes and
orchestrates a varied soundtrack, which lends itself to the various scenes. There is everything: tense soundscapes, epic symphonic rides - directly referring to the "Dollar Trilogy", frivolous and light- hearted moments, all mixed with esoteric sounds.
Given the popularity of the film, its soundtrack has been released several times, but 35 years have passed since the previous vinyl release. A must buy for fans of the Maestro Morricone but also for all film lovers!

Limited edition on crystal clear vinyl

"I wrote half of these songs when my energy was either headed in the wrong direction or already there. I wrote the other half while my energy was moving in a direction I'm more excited about, that I find to be more enriching. They're all still my songs though. My mother, and lots of my relatives, used to call me "Angelito."

Little Angel. The taijitu is the symbol for yin and yang. Opposites that make a whole. Given the dualistic/ duelistic nature of the songs on the record, put it all together and what do you get, Anjelitu.

Since its incarnation as a string of tapes and CDRs for the band to sell on tour in 1999, the Sad Clown series has taken on numerous forms, including 4-track demos, live shows, a DVD, a mixtape, and 7" singles. While preparing for 2007's When Life Gives You Lemons, You Paint That Sh*t Gold, Atmosphere launched the next phase of the series, releasing Sad Clown Bad Summer Number 9, the first of four EP's dedicated to the four seasons. These seasonal releases were the first in the Sad Clown series to receive distribution, being made available on both vinyl and CD. Showcasing Slug and Ant at their best, the four Sad Clown seasons encompassed fan favorites such as "Don't Forget," `The Rooster," "Not Another Day," "Happymess," and "Sunshine," Atmosphere's biggest song to date. These four iconic EPs are now packaged into one 2xLP vinyl release titled Sad Clown Bad Year, complete with an 8-page activity book of custom coloring pages, connect-the-dots, a word find and a maze. The entire package comes housed in a reverse board jacket featuring black & white illustrations with an uncoated finish so you can color and customize yours anyway you like!

Oceanhoarse mag ein Neuling auf dem Gebiet des Heavy Metal sein, aber schnell und laut werden sie die Szene im Sturm erobern! Die Helsinki-Band mit Ben Varon (ex-Amoral) an der Gitarre, Bassist Jyri Helko (Warmen, ex-For The Imperium), Oskari Niemi am Schlagzeug und Sänger Joonas Kosonen tourte bereits in Finnland, Tokio, Japan und ganz Europa.
Zweifellos macht die Heavy-Metal-Gruppe ein Statement gegen computerisierte Metal-Musik, bei der es schwer zu wissen ist, was real ist und was nicht: Mit Oceanhoarse, gelobt für ihre wilde Energie auf der Bühne, bekommst du, was du siehst, ohne Backing-Tracks; aber pur, roh und wild - eine Seltenheit in der Heavy-Musik-Welt heutzutage.
Im Juni 2020 veröffentlichten Oceanhoarse The Damage Is Done - LIVE!, ein Album mit 11 Straight-in-Your-Face-Heavy-Metal-Hymnen, die auf einer ausgedehnten Tournee mit Nightwish-Sänger und -Bassist Marko Hietala aufgenommen wurden. Die Singles von Oceanhoarse, die auch auf dem Soundtrack des beliebten Videospiels Wreckfest enthalten sind, wurden bereits fast zwei Millionen Mal allein auf Spotify gestreamt.
Im Jahr 2021 ging die Band mit dem deutschen Label Noble Demon einen Gang höher, das erste Studioalbum der Band veröffentlichte und das Follow-up ist bereits für Anfang 2023 geplant!


Mit ehemaligen und aktuellen Mitgliedern bekannter Bands wie Amoral, Warmen und anderen haben sich Oceanhoarse zu einer Band entwickelt, die bereit ist, die Dinge in ihrem eigenen Stil zu erkunden, anstatt sich an irgendeine Art von Durchschnittsformel zu halten. Nachdem sie 2021 ihr Debütalbum "Dead Reckoning" (Noble Demon) veröffentlicht haben, gefolgt von mehreren Single-Veröffentlichungen und ausgedehnten Tourneen, sind die aus Helsinki stammenden Vierer vielleicht einer der bemerkenswertesten und hart arbeitenden Newcomer. Also macht euch bereit für "Heads Will Roll", ein Album, das ihr im Jahr 2023 nicht verpassen solltet!
Als Bonus gibt es das Live Album von "The Damage is Done" als 2te CD dazu.

American trumpeter Blue Mitchell, as his name suggests, had a sound rooted mostly in the blues. He was a Blue Note artists who recorded this album in 1966 and included in it is 'Portrait of Jennie' which was a ballad originally written for the movie Portrait of Jennie in 1948. Guests Jimmy Heath, Tom McIntosh and J. Russell Robinson all feature across the six tunes which mix up modal harmonies with some lyrical moments and groove-driven and subtly funky rhythms. It's a rare one to find on vinyl so do not sleep on this reissue.

After a first mini-album Dr Bolivard which took the form of a funky and electronic tragi-comic self-psychotherapy, a series of interviews with creators on YouTube (Jacques, Myd, L'impératrice...) where he played a zany psychiatrist character asking existential questions, Bolivard is back with a new mini-album which will be released on January 27th 2023: M. Bolivard.

Composed between 2020 and 2022, he gives his impressions of a turbulent period: pandemic, confinements, American and French elections, global warming, war in Ukraine, worsening mental health... Bolivard keeps his black humour and his taste for nonsense while adding a good dose of satire. On the agenda: social anxiety, radicalisation of opinions, narcissism, psychopathy...

Musically, French pop and funk are always mixed with electronic music. Bolivard sings, raps, slams, speaks, above all to tell stories that are more or less crazy, often funny, sometimes disturbing, definitely creative.

Dark and cerebral Acid Techno doesn't come better than on Hive, and this EP demonstrates why. Chris Liberator & Sam DFL present the fifth instalment of their ACID TECHNO IN THE MODERN ERA series, and it is a 4 track masterclass in twisted 303's and driving beats. Watch out for the 4th track, a stomping old school 303/909 workout that bleeds acid and stomps like a motherf-ker!

Red Vinyl

With the newest techno release from Marco Bailey & Sigvard, be ready to party all night long! This EP is going to be popular because it has four upbeat songs that will make you move.

First, "Faded Game" introduces a funky, chord-heavy sound that will have you bobbing your head to the beat. The captivating melodies and frantic rhythms of the following song, "Live For Yesterday," maintain the momentum.

With its relaxed, yet still danceable sound, "Smooth Mind" slows things down a notch, and "Out Of The Past," the EP's final track, wraps things up with a techno track with influences that will take you back to the dance floors of yore.

Overall, if you're a fan of techno and want some groovy, upbeat music to add to your collection, you should definitely get this EP.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

In den zwei Jahrzehnten ihrer Karriere hat die Norwegerin Ane Brun einen weiten Weg zurückgelegt, seit sie auf den Straßen Barcelonas die Lieder anderer Leute vorgetragen hat. Heute ist sie eine beliebte Singer-Songwriterin mit zehn Studioalben und zahlreichen Auszeichnungen. Mit ihrer einzigartigen, ausdrucksstarken Stimme und ihrem intuitiven Gespür für Melodien setzt sie die hohe Kunst der Coverversion fort. In Bruns Händen werden selbst Songs, die sich unantastbar anfühlen, näher gebracht und in einem neuen und intimen Licht gezeigt. Ob sie nun Beyoncés Siegeszug "Halo" mit einem Cello-Arrangement von Linnea Olsson neu interpretiert oder Radioheads "How To Disappear Completely" eine gespenstische Zerbrechlichkeit verleiht - sie taucht unerschrocken ein, sucht den emotionalen Kern eines jeden Songs und arbeitet sich von dort aus vor. Portrayals versammelt zum ersten Mal zwölf von Bruns beliebtesten Coverversionen sowie eine bisher unveröffentlichte Version des Rodgers & Hart-Standards "Blue Moon". Bruns Bearbeitungen, die insgesamt über 250 Millionen Mal auf Spotify gestreamt wurden und in Filmsoundtracks, Werbespots und bahnbrechenden Fernsehserien wie "Normal People" und "Peaky Blinders" zu hören sind, bewegen sich auf zarte, unvergessliche und oft verblüffende Weise. Portrayals ist die erste in einer Reihe geplanter Veröffentlichungen im Jahr 2023, um das 20-jährige Jubiläum ihres Debütalbums Spending Time With Morgan zu feiern. "Covers sind ein wichtiger Teil meiner Karriere", sagt Brun. "Es ist fast eine eigene Karriere. Es hat seine eigene Dynamik. Ich wollte das feiern, indem ich diesen Songs ihren eigenen Raum gebe."

After several years of intense performance activity, the Italian sound artist and
vocalist SARA PERSICO releases her debut EP "Boundary", to be followed by a full album.


Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth
experimenting on the fringes of Naples' fiery underground experimental/noise scene, developing a
technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the
Conservatory of Bologna and gained several residencies and scholarships like Temp Studio,
Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,
Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM
Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity
Festival, Radical DB, Life Libertas Festival, among others.


As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN
SAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed "light-years" show at Rewire
Festival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY
MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,
RECORDAT, and many others.

She's also a fearless DJ who's able to straddle vastly different worlds, offering just as much
attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal
experiments. She is currently a resident on Bethlehem's Radio Alhara.

All this energy and experience radiates from her solo debut "Boundary": PERSICO's expressive
vocals play a central role, but her command of precisely sculpted electronic textures and dynamic
rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense
introspective work that explores intimately the boundaries of the self. Identity rupture as a survival
technique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a
heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.

Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.

'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian

'These songs played a big part in shaping my tastes in music.' - Elvis Costello

Repress auf Grün/Neon-Magenta-farbigem Vinyl.

American singer, actor, dancer, and civil rights activist Eartha Kitt was
celebrated for her highly distinctive singing style
Her recordings of "C'est Si Bon" and the Christmas novelty song "Santa Baby"became instant classics and are presented here along with many other hits.

Limited edition audiophile pressing on 180gram premium vinyl.
Eartha Kitt epitomized the idea of the sex-kitten chanteuse, rising to fame with a nightclub act centred on her slinky stage presence and her throaty purr of a voice. As much as she enjoyed vamping it up, she also projected the image of an exotic international sophisticate. She brought a definite zest to her torch songs and Orson Welles once called her "the most exciting woman in the world".

Eartha Kitt , lead vocals on all tracks,

plus: Henri René Orchestra,
Maurice Levine Orchestra,
Shorty Rogers Orchestra,
Anton Coppola Orchestra.
New York, 1953-59

Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)