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THE GHOST INSIDE stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE GHOST INSIDE has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE GHOST INSIDE"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

Joe Nora exemplifies Californian cool from the bay to LA. With a wide production palette that varies from dusty instrumental and alternative hip hop to breezy indie R&B, his range falls under a vibe that only he personifies. On his forthcoming album, Puzzle Face delves into the journey of navigating confusion and rebuilding oneself after facing adversity.

Principal member Keith Finch linked up with reggae manager and publisher Othman Mukhlis at Stanley House Studio in 2001 and began a series of projects featuring there love of retro reggae. JA13 worked with major reggae stars of the sixties on the ‘Heroes of Kingston’ project, Alton Ellis, Derrick Morgan, Dave Barker Dave and Ansell Collins Winston ‘Mr Fixit’ Francis, Denis Alcapone, Owen Grey, BB Seaton Gaylads and legendary trombonist Rico Rodriguez. [Which lead to two solo albums with Rico Rodriguez]. Project championed by David Rodigan and Ranking Miss P. Music in films and TV including Hawaii 5-0, various US films, BA, Tesco, various BBC, latest and currently they have many tracks on BBC most successful export ‘Death in Paradise’. They also feature two tracks in the forthcoming Shaggy documentary Other reggae artists projects include Bob Andy, Joseph Cotton, General Saint and Clint Eastwood, Don Campbell, J C Lodge, Susan Cadogan, Glen Adams [Upsetters] Pat Rhoden [first artist on Trojan] Tippe Irie, Tenor Fly, Spanna Banner, FYA [Platinum in Japan], Bounty Killer, Elephant man, and many more on ‘Bar Mitzvah riddim’ which was co written and produced with Skatta Burrell. Written for UK pop reggae band Madness on last two albums, and on the project ‘Charge of the Dance Brigade’ with Lee Thompson [Madness] and Jennie Matthias Belle stars singer] with Brazilian jazz accordionist/pianist Chico Chagas. And a host of other top musicians. [Which he co wrote, produced, engineered and nurtured] JA13 have featured on many reggae projects and remixes, the latest offering is ‘World Radio Dub – Chapter One’

Multitudes" ist das Debütalbum der Singer/Songwriterin Alisa Amador aus Cambridge, MA. Die Songs von "Multitudes" sind eine Synthese aus den
vielen Stilen, die Alisa unersättlich aufgesogen hat: Rock, Jazz, Funk und alternativer Folk, alles verpackt in den Geist der lateinamerikanischen Musik,
mit der sie aufgewachsen ist. Alisa hat live bereits für Künstler wie Hozier, Lake Street Dive, Madison Cunningham, Watchhouse, Hiss Golden
Messenger und viele andere eröffnet.
Das Album ist ein kühnes, fesselndes Selbstporträt, das nicht nur zeigt, wie weit Amador gekommen ist, sondern auch ihre Herkunft feiert (ihre
Wurzeln liegen in Puerto Rico, New Mexico, Argentinien und New England). Die Sammlung, die mühelos zwischen Spanisch und Englisch wechselt und
auf der auch Gaby Moreno, Madison Cunningham und Quinn Christopherson zu hören sind, ist ein wunderschönes Album - die Art und Weise, wie
Amadors kristalline Stimme die üppigen Synthesizer, verträumten Gitarren und filmischen Streicherarrangements des Albums durchbricht, ist
schlichtweg bezaubernd - aber mehr noch, es ist ein intensives Werk, eine tiefgründige, aufschlussreiche Meditation über Triumph und Verlust, Ende
und Anfang, Identität und Zugehörigkeit.

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the signing of the eagerly anticipated debut album by London singer-songwriter and renowned DJ Iraina Mancini. Iraina’s singular pop vision will be known to regular listeners of 6 Music, where her singles ‘Undo The Blue’, ‘Deep End’, ‘Shotgun’ and ‘Do It (You Stole The Rhythm)’ have all been enthusiastically embraced. Iraina's obsession with music stretches back into her early childhood, much of which was spent absorbing her parents’ collection of old 45s, in particular her dad’s Northern Soul records – an alternative education which meant that, by her early 20s, she was a familiar presence in the DJ booth at many discerning London club nights. Her love of French ye-ye, British freakbeat, Brazilian bossa nova, soul, and Turkish psych will be well-known to regular listeners of her Soho Radio show. Having always sung from a young age, Iraina embarked on a string of collaborators such as Jagz Kooner (Sabres Of Paradise), Sunglasses For Jaws (Miles Kane) and Simon Dine (Paul Weller, Noonday Underground) which truly saw her find her metier as a songwriter, conjuring melodies that stand shoulder to shoulder alongside her impeccable influences. Iraina describes her first single for Needle Mythology ‘Cannonball’ as “a celebration of that moment when you meet someone you really fall for and it knocks you for six. It can be a bit scary, but you’ve just got to go with what your intuition is telling you.” Written with Simon Dine, the vertiginous heart-in-mouth abandon of the song perfectly mirrors the circumstances that brought it into being. Iraina cites Jacqueline Taïeb’s 1967 single 7h du Matin as an early inspiration for the song: “There’s such a great energy about that song. Her vocal is amazing and all those stops and starts that grab your attention.” “This is an artist I absolutely love, one of our rising stars at 6Music.“ Lauren Laverne BBC 6Music “Iraina seizes on the best aspects of the past, blurring those impeccable 60s and 70s influences with a touch of modernity.” Clash “Full of femme fatale poise and swooning chanteuse flourishes.” The Times

Jetzt auch als Neuauflage in Ltd. Edition Rotem Vinyl erhältlich!

"Songs are like tattoos" - die berühmte erste Zeile von Joni Mitchells "Blue" - ist ein Gefühl, das für die kanadische Rockerin Lee Aaron schon immer eine große Rolle gespielt hat.
Im Laufe ihrer 18 Alben umfassenden Karriere hat Aaron Musik geschrieben, aufgenommen und produziert, die mit Gold und Mehrfach-Platin ausgezeichnet wurde. Sie gilt als eine der besten Rocksängerinnen Kanadas und hat auch Ausflüge in den Jazz, Blues und sogar in die Oper unternommen. Dafür erhielt sie zahlreiche Preise und Auszeichnungen und wurde 2023 in Kanadas Walk of Fame aufgenommen.

"Das Einzige, was ich noch nie gemacht habe, war ein komplettes Cover-Album", sagt Aaron. "Es schien mir ein wirklich cooles und superlustiges Projekt zu sein, das ich zu diesem Zeitpunkt in Angriff nehmen wollte..."

"Tattoo Me" ist eine klangliche Zeitkapsel, die die Jahrzehnte überbrückt. Einmal mehr zementiert Aaron ihren Status als Rock'n'Roll-Chamäleon, indem sie Altes mit Neuem verbindet und damit nicht nur beweist, dass die transzendente Kraft der Musik niemals aufhört, sondern dass auch sie selbst nicht bereit ist, dies in absehbarer Zeit zu tun.

Words And Music" ist eine 3xLP-Box mit dem Werk der im Jahr 2021 verstorbenen Sängerin und Songwriterin MARGO GURYAN. Als Zeugin von Revolutionen in Jazz und Pop hat sich GURYAN ihren Platz im Pantheon der Songwriter verdient. Dass sie jahrzehntelang weitgehend unbekannt war, liegt nicht an zerstörten Träumen, sondern an ihren eigenen Entscheidungen und Prioritäten. Von den bescheidenen Anfängen über die Höhepunkte ihres barocken Pop-Meisterwerks "Take A Picture" von 1968 und die gesammelten Demos bis hin zur jüngsten viralen Verbreitung von "Why Do I Cry" - das Boxset "Words And Music" fängt die gesamte Karriere von GURYAN ein, einschließlich 16 bisher unveröffentlichter Aufnahmen und einem 32-seitigen Booklet, das ihre ganze Geschichte erzählt. Produziert wurde die Box von ihrem Stiefsohn Jonathan Rosner, ihrem Freund und Historiker Geoffrey Weiss und den Numero Group-Mitarbeitern Douglas Mcgowan, Rob Sevier und Ken Shipley. Alle Tracks wurden von Jessica Thompson neu gemastert. In ihrer Blütezeit veröffentlichte GURYAN nur ein einziges Album: "Take A Picture" von 1968. Da MARGO jedoch kein Interesse daran hatte, aufzutreten, zu touren und für ihr Werk zu werben, wurde das Album damals kaum beachtet. Dennoch wurde die Platte in den 1990er Jahren zu einem begehrten Kultobjekt. Eine neue Generation von Hörer*innen lernte ihre Arbeit kennen, als "Take A Picture" im Jahr 2000 neu aufgelegt wurde. Kurz darauf folgten die gesammelten Demos, eine unglaubliche Zusammenstellung von ausgegrabenen alternativen Aufnahmen und neu veröffentlichten Songs, die MARGO selbst betreut hat. GURYANs Leben war in den dazwischen liegenden Jahren weiterhin von Musik erfüllt; sie wurde Musiklehrerin, schrieb weiterhin Songs und pflegte Freundschaften mit einem wachsenden Kreis von Anhängern. Die Geschichte von MARGO GURYAN ist die einer Frau, die von klein auf in die Tiefe ging und nie Angst vor Veränderungen hatte. Ihr Gespür für Ton, Phrasierungen, Spannung, Präsenz und Texte, die treffen, machen ihren Namen heute zu einem Synonym für ausgefeiltes Songhandwerk und die unnachahmliche Coolness der 1960er Jahre. Ihr Einfallsreichtum und ihre Technik stellen sie in die Tradition von Kammer-Pop-Ikonen wie Brian Wilson und Burt Bacharach, während die bittersüße Offenheit in ihren Beschreibungen des Frauseins einen Mittelweg zwischen Carole Kings Pop-Fabrik und der Singer-Songwriter-Ära aufzeigt. Aber die unaufdringliche Strenge von MARGOs künstlerischer Stimme ist ganz ihre eigene.

"Ich bin neu in der Hamburger Schule" haben Tocotronic 1995 gesungen. "Die Lehrer sind alle ganz nett hier und die meisten meiner Mitschüler auch." Doch wer sind die "Lehrer" dieser 1993 gegründeten Band, die erst spät zu der unter dem Namen "Hamburger Schule" bekannten Szene gestoßen ist? Und wie blicken die "Mitschüler" heute auf die Musikszene, die sich ab Mitte der Achtziger an den Tresen, in den Übungsräumen und Konzertsälen der Hansestadt entwickelte? Zu einer Zeit als Deutschpunk stumpfer und die Neue Deutsche Welle schlagerhafter wurde, entstand irgendwo dazwischen etwas Neues, Eigenes. Noch ohne Trainingsjacken, Seitenscheitel und deutschsprachige Texte herrschte zunächst eine musikalisch wilde Mischung vor - Alternative neben Northern Soul, Punk neben Noise, Pop neben Instrumentalmusik. Erst nach und nach schälte sich der deutschsprachige, intellektuelle Diskurspop heraus, der zum Markenzeichen - und Klischee - der Hamburger Schule wurde und Bands wie Blumfeld, Die Sterne oder Tocotronic zu überregionaler Bekanntheit führte. "Der Text ist meine Party" begleitet zahlreiche Akteur:innen auf ihrem Weg aus der Provinz nach Hamburg. Viele der Musiker:innen hatten in der Punkszene die Selbstermächtigung, den Do-it-yourself-Ethos erlernt und gründeten Bands und Tonstudios, Labels und Konzertorte. "Der Text ist meine Party - Die Hamburger Schule 1989-2000" ist das musikalische Pendant zum gleichnamigen Buch von Jonas Engelmann (Ventil Verlag). Auf der Compilation finden sich viele Musiker:innen, die auch im Buch zu Wort kommen und einige mehr.

Fast 20 Jahre ist es her, dass Seasick Steves gefeierter Auftritt in Jools Hollands Hootenanny den unbekannten amerikanischen Singer-Songwriter zu weltweitem Ruhm verhalf, und seine verbeulte dreisaitige japanische Gitarre und die alte hölzerne Stompbox Musikgeschichte schrieben. Die überwältigende Resonanz überraschte niemanden mehr als Steve selbst und traf ihn wie ein Blitzschlag, dessen Auswirkungen auch fast zwei Jahrzehnte später noch zu spüren sind – inzwischen ist er auf fast allen großen Festivals der Welt aufgetreten und hat über zwei Millionen Alben verkauft. Sein neues Album "A Trip A Stumble A Fall Down On Your Knees" erscheint über So Recordings. Es ist ein Album, von dem er stolz sagt, dass es sein bisheriges Lieblingsalbum ist: "This album was made by mistake, as the title suggests we just tripped and stumbled into it, and it became my favourite album ever and the piece of work I’m most proud of to date. There’s not a week goes by that I don’t thank my lucky stars for that night on the Hootenanny which has brought us here to this record."

With their fourth album, Seas of Static, the French band Dead Horse One establishes itself as one of the heaviest bands of modern shoegaze, propelling the genre to new heights of power and emotion. In this album, Dead Horse One skillfully merges the incisive alternative metal of Deftones with the enveloping and ethereal sound of My Bloody Valentine. The result is a captivating whirlwind, where walls of guitars collide in a surge of creativity, raw emotion, and energy. Far from recycling, Seas of Static is a deep exploration of the grungegaze fusion, thus creating a unique and powerful sound, far from being conventional. Assisted by a massive production by Brendan Williams (Soul Blind, Francis Lung, GoGo Penguin), Dead Horse One creates a unique sonic texture with raw energy that evokes both grunge riffs and shoegaze atmospheres while injecting a new and contemporary energy. With this album, Dead Horse One pushes the boundaries of the genre, offering listeners an immersive and uncompromising musical experience.

Michael Reinboths allererste Veröffentlichung unter seinem Namen. Nach den frühen Beanfield-Produktionen, ca. 20 Remixen (einige davon schlicht als Compost Remixes bezeichnet), mehr als 30 Compilations, einigen 12"s unter verschiedenen Alter Egos und über 30 Jahren Compost Label Betriebsamkeit, fiel die Entscheidung dann doch leicht: Jetzt oder nie!

"Let The Spirit" ist eine kinetische Coverversion eines House-Klassikers, der vor langer Zeit auf Ron Trents legendärem Prescription-Imprint veröffentlicht wurde. Es gibt keine Samples, alles ist selbst programmiert und zusammen mit Jan Krause (Beanfield) produziert. Die Flipside, etwas trippiger "RS6 Avant" in zwei Versionen. Die Cosmic Version lädt dazu ein, über die Landstraße zu schweben (oder in den späten Nachtstunden mit geschlossenen Augen über den Dancefloor). Und da Michael auch gerne schnell fährt, hat er sich entschlossen, die Club Version hinzuzufügen - eine viel energischere Version, die auf der Tanzfläche (und natürlich auf der Autobahn) zu Spitzenzeiten gut funktioniert. Weitere Michael Reinboth-Releases sind für 2024 in der Mache!

"2024 Remastered Edition of the band's 1981 debut. FIRST-EVER U.S. PRESSING on limited edition Black and White split-colored vinyl.

Pitchfork cited ""Stands for deciBels"" among its list of Top 100 Albums of the 1980s. “The missing link between the proto-power pop of Big Star and the college rock of R.E.M...an unheralded gem”. The dB’s carved out a nice little niche in the genre of power pop while straddling the line between punk and new wave.” -Pop Matters.

“The dB’s combined a reverence for British pop and arty post-punk leanings that alternate between minimalism and a love of quirky embellishment, odd sounds, and unexpected twists; Stands for deciBels is clearly a collegiate pop experiment, but rarely is experimentation so enjoyable and irresistibly catchy” - AllMusic.

To support this remastered and first-ever US vinyl release, the band will be on tour in the Fall of 2024 in the U.S."

A deep, zouk/electronic dancehall crossover track from Cameroonian artist Maréchal Papillon, including a brand new dub version from Canadian producer Poirier Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time. ‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

Das dritte Album von Marina Allen mit starkem und lebendigem Songwriting, wunderschön instrumentiert, hochmelodisch und mit einer unvergleichlichen lyrischen Perspektive vorgetragen. Mit zwei gefeierten Alben hat die in Los Angeles lebende Singer-Songwriterin eine frühe Ernte eingefahren, aber ihr drittes Studioalbum birgt den bislang größten Ertrag. Verglichen mit den anschwellenden Kompositionen von Allens zweitem Album Centrifics oder der unschuldigen Ruhe von Candlepower, ist die Welt von Eight Pointed Star tiefgreifender und offener. Schimmernende Gitarren verziehren die Canyons und Staub wird von der rot vernarbten Erde aufgewirbelt. Allens Gesang ist rein und kristallin, während die Instrumentierung reichhaltig ist und vor Helligkeit nur so strotzt. Man kann hören, wie die Musik Zufriedenheit ausstrahlt und der Produktion von Chris Cohen Raum für eine volle Band bietet. Allens künstlerische Zuneigung gilt vor allem Sängern, die ihrer Meinung nach wirklich singen können, von The Roches bis Karen Dalton, Joanna Newsom und Meredith Monk. Aber diese Einflüsse verschwinden wie Gespenster auf dem Dachboden, wenn sie selbst zu singen beginnt. Allen hat eine Stimme, die es mit dem Kanon aufnehmen kann - unnachahmlich - und sie hat noch nie so entschlossen geklungen wie hier. Ein strahlender, klarsichtiger moderner Klassiker des alternativen Folk und Americana. Für Fans von Aldous Harding, Fiona Apple und Waxahatchee. Klassich schwarzes Vinyl mit DLC oder Digisleeve CD.

Die Sages Comme Des Sauvages sind nicht die, für die Du sie hälst. Du dachtest, sie seien naiv und nett, aber sie sind anarchistisch und wütend. In der Peripherie angesiedelt, bahnen sie sich ihren Weg zwischen dem Populären und dem Coolen. Ihre Lieder sind ein Gegenmittel gegen die schlechten Nachrichten, ein Versuch, den hohlen Raum wieder zu verzaubern. Ismaël Colombani begann im Alter von 6 Jahren mit dem Geigenspiel und spielte in mehreren Avantgarde-Musikgruppen. Er komponiert auch Musik für die Bühne, vor allem für die Tanzgruppe Peeping Tom. Ava Carrère studierte an den Beaux-Arts, bis sie das Bedürfnis verspürte, einen direkteren Weg zu finden, um die Menschen anzusprechen. In der Welt des Berliner Metakabaretts entdeckte sie, dass sie voll von Liedern war. Kaugummi und LSD sind Beispiele für Serendipität. Das sind Dinge, die man findet, ohne sie zu suchen. Sages Comme Des Sauvages ist ein anderes. Ismaël war nicht dazu bestimmt, Ava zu treffen, so wie griechische Instrumente nicht dazu bestimmt waren, die Musik von La Réunion zu spielen. Als sie ihre Stimmen mischten, entstand ein drittes Wesen, das der Gruppe. Sie fanden Spuren einer Musik, die nicht vollständig vom Kommerz beherrscht wurde, und brachten Instrumente, Freundschaften und die Idee mit, dass die Kreolisierung der Welt verstärkt werden sollte. Sages Comme Des sauvages wurde zu einem Begriff, veröffentlichte zwei Alben, wurde von französischsprachigen Radiosendern wie France Inter und RTBF gespielt und gab Hunderte von Konzerten. Und nun ist es an der Zeit sie zu entdecken.

The three howler monkeys of NAG strike back with their new album “Boys Of Europe”. They debuted in 2016 as an exciting breath of basement-smelling air. Their moderately original alternative cement mix of the filthiest of punk, the truest of hardcore, and the evilest of metal was very well received. Then came gigs and tours around Europe before the second album was released in 2018, to raving reviews too, ofcourse. But then there was dead silence. For a long time. Now they’ve finally returned from obscurity with ten perfected and mighty NAG-tunes. Indeed, their hair has become greyer, and their backs hurt more, but there’s no way you can tell. They still sound like raging Norwegian teenagers. NAG has stayed true to their original ‘crust punk black metal’ formula, and the new album is as hard, fast and straightforward as anything they’ve done before.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

The fourth album by Love Battery, 'Straight Freak Ticket' (1994), now out for the first time on vinyl! Remastered by Jack Endino (Nirvana, Soundgarden, etc.) 'Straight Freak Ticket' is the 4th album by Seattle alternative rock band Love Battery. It was originally recorded in 1994 and released only in USA and on CD format - now it is being released on vinyl for the first time. The Seattle Post-Intelligencer called the album "a solid, well-produced album of guitar-based rock with catchy hooks and a strong dose of psychedelia." USA Today labeled the album "a psychedelic tour de force and dramatic leap forward," writing that "the antigrunge guitar riff-o-rama of Ron Nine and Kevin Whitworth propels the Seattle quartet's most adventurous and listenable tunes to date." The band, featuring members of Mother Love Bone, Green River, Skin Yard, The Presidents of the USA, is: Ron Nine - Vocals, Guitar Kevin Whitworth - Guitar Jason Finn - Drums Bruce Fairweather - Bass

Multi-talented US punk, Jeff Rosenstock releases fourth album on Specialist Subject Records (UK /EU) & Polyvinyl (Worldwide)! NO DREAM comes at a time of unparalleled chaos and confusion, division and despair, the depths of which would have been impossible to predict when much of it was being written over the course of the last few years. And yet the record feels prescient, unexpectedly and uniquely suited for this moment. Newly settled in Los Angeles after a lifetime on the East Coast (namely Brooklyn by way of Long Island), Rosenstock recorded NO DREAM with Jack Shirley (Deafheaven, Hard Girls, Joyce Manor) at Oakland's Atomic Garden, and even took on mixing duties alongside Shirley for the first time. Opting to stay off the computer "even more than usual" and record to tape with outboard gear, the result is a lived-in sound that gives each song its own individual voice and organic energy. After building a cult following with the acerbic ska-punk of the Arrogant Sons of Bitches and DIY heroics of Bomb the Music Industry!, Rosenstock's first proper solo record, 2015's We Cool?, was a step into uncharted territory, fully untethered from genre and expectation. Followed by 2016's WORRY. and the surprise New Year's Day launch of POST- in the early hours of 2018, Rosenstock was facing down that least punk of opportunities: a career playing music. Having taken some time away from his work as a solo artist to recalibrate and reset over the last year, Rosenstock stayed busy playing alongside Mikey Erg, recording and touring with the Bruce Lee Band, releasing a Neil Young covers record with frequent collaborator Laura Stevenson, reissuing two of his own out-of-print early albums, compiling a live album which was recorded during a run of four sold-out shows at Bowery Ballroom, making a 76 page photo book, and scoring over 80 episodes of the Cartoon Network series Craig of the Creek. In fully returning to his own voice, it's no surprise that Rosenstock's output has never been more eclectic, reflected across NO DREAM's 13 songs.

Speed, Glue & Shinki’s last album has been reissued in a gorgeous specification that faithfully reproduces the original, including the entire volume band! Released in 1972. It is a two-disc set that became the last album. Famous for its tiger jacket. There are a lot of songs that seem to be centered on Joey Smith now, but Bluesy Rock is fully opened like the previous work. Although some lyrical songs can be seen, the D-side medley makes heavy use of the precious Moog synthesizer at the time. Guests include Michael Hanopol, Shigeki Watanabe, Hiroshi Oguchi. The 96khz24bit sound source mastered in 2017 is used for this analog conversion. The jacket is a single jacket × 2, a full-length band, a lyrics card, etc. The original is reproduced as much as possible.

Karriere Höhepunkt! Auf ihrem 7. Album 'Interplay' führen die britischen Shoegaze-Pioniere Ride alle musikalischen Fäden ihrer Karriere zusammen, die typischen rasenden Gitarrenwellen und hypnotischen Grooves treffen auf die träumerisch-melodischen Hooks ihrer Frühwerke. So bildet sich ein umfangreiches Sound-Geflecht, das auch Synthesizer-Verzierungen, psychedelischen Folk, elektronische Beats und Noir-Pop-Soundscapes mit einbezieht.

Das neue Album folgt auf 'Weather Diaries' (2017) und 'This Is Not A Safe Place' (2019), die den Funken von Ride neu entfachten und sowohl alte Hasen erfreuten als auch ganz neue Fans erreichten. Gerade auch dank des schnellen Shoegaze-Wachstums durch TikTok, die der Band eine neue Welle von Gen-Z-Anhängern einbrachte.

The vinyl os the first release in archival series celebrating the legacy of Robert Hunter, primary lyricist for Grateful Dead and main collaborator/songwriting partner for Jerry Garcia. Deluxe reissue of 1974 debut solo album. This Deluxe Edition introduces a freshly remastered version of the original album alongside 16 previously unreleased recordings, including alternate versions of album tracks and several session outtakes. All the music has been remastered from the original master tapes by GRAMMY® Award-winning engineer David Glasser using Plangent Processes tape restoration and speed correction.

Now based in Manchester, set behind a backdrop of haze with the mid 20s coming knocking, Nightbus (Olive, Jake and Zac) found common ground in their mutual taste in music.

Amongst those late nights and the hedonism that comes with them, partnered with somewhat of a compulsive nature, The question of; what next? Rang around.

In summer 2022, a desire to collaborate and make their own music was almost telepathically manifested. Evidently their sound is a testament to the scenes, eras and bands that have inspired them to make music that would stand out in an ever-expanding alternative scene.

Afraid of Tomorrows ist das kommende zweite Album der britischen Alternative-Rock-Band The Mysterines. Das Album entstand nach der Veröffentlichung des Debütalbums Reeling im Jahr 2022 und der Tournee als Support für die Arctic Monkeys. Die Band schrieb fast 40 Songs in den Sessions für das Album, wobei die Songs, die „eine Emotion hervorriefen“, mit John Congleton aufgenommen wurden. Außerdem wurden sie durch den Dokumentarfilm Meet Me in the Bathroom inspiriert, der die Geschichten von New Yorker Rockbands der 1990er und 2000er Jahre erzählt, darunter die Strokes, Yeah Yeah Yeahs, LCD Soundsystem und Interpol. The Mysterines sind diesen Oktober wieder auf Tournee in UK/EU, u.a. in Berlin, Hamburg und München, und werden diesen Sommer auf Festivals auftreten, u.a. beim Hurricane und Southside. Das neue Album enthält 12 Songs und ist als limitierte coloured Vinyl erhältlich.

'When Can' is a journey through the realms of musical serendipity, an ode to the unexpected twists of collaborative intuition. Conceived in the spring of 2012, this masterpiece is the culmination of a decade-long friendship between Reimer Eising aka Kettel, and Lennard van der Last aka Secede, two of the most talented electronic music producers from The Netherlands.

'When Can' is not just a collection of songs; it's a seamless continuum where each track breathes life into the next. As the listener delves into the sonic story, the music leads to uncharted territories, incorporating ambient and cinematic sounds and blending them with reminiscences from Renaissance to Baroque music. Far from a preconceived plan, the album organically unfolded, capturing the essence of the musical exploration from these two brilliant minds.

More than a decade after its birth, Lapsus is proud to release 'When Can' for the first time on vinyl. For this meticulously curated deluxe edition all the tracks have been remastered, and the artwork has been updated by Basora studio. And there's much more inside: two lithographic prints featuring original paintings by Jeroen Advocaat plus an extra 10" including the unreleased tracks 'Zipvanes' –a 10 minutes alternative cut of 'Ringvanes'– and 'Spoonful'.

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

Re-press expected soon: The Action Is Go Deluxe Edition, celebrates the band’s 4th album and debut of
guitarist Bob Balch and drummer Brant Bjork, which was originally released on 7 October,
1997.Produced by White Zombie’s J. Yuenger and recorded at the legendary Sound City Studios and also
at Grandmaster Studios in Los Angeles, California, The Action Is Go is considered a classic of the '90s and
a pillar for the "stoner rock" movement. Highlights include the lead single "Evil Eye", which was featured
on the soundtrack for Tony Hawk’s Pro Skater 2 and is included on the reissued version released 4
September 2020 alongside live staples "Grendel, Snowman,” “Hogwash” and “Saturn III”. This limited
edition 1,000 unit double LP run is cut at 45 RPM for maximum heaviness and the gatefold package
design includes never before seen photos of the band. Also included is a bonus Sparkle vinyl 7” of
“Swami’s Last Command” and an alternate version of “Module Overload” recorded during The Action Is
Go album sessions, both of which were previously only available on the European pressing of the original
album. Both the LP and 7” feature newly remastered audio for optimum fidelity.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Der Guardian of HipHop, der König der Mongos, der Freak, das Ex-Deichkind, das Reimemonster, der Punk-Rock-Rapper und Schauspieler .. Sascha Reimann aka Ferris MC lässt sein Alter Ego wieder auferstehen und löst endlich sein Versprechen ein, das er der Generation gab, die er als Künstler wie kein anderer Rapper geprägt und versaut hat. Ferris MC hat seine bösen Dämonen besiegt, ist nun von allen bösen Geistern verlassen und nimmt seine Fans mit dem neuen Album „Mortal Comeback“ mit auf eine Zeitreise – positiv, überraschend und mit ein bisschen Nostalgie wird das „Früher-Gefühl“ ins Hier und Jetzt katapultiert. Er macht Musik wie und weil er es will, nicht weil er muss. Für Ferris MC ist es wichtiger wahrhaftig zu sein, als einem längst überholten Image treu zu bleiben. Die Texte schreibt sein Leben und so nimmt er seine Hörer:innen mit in seine Welt – so, wie er es schon vor 30 Jahren getan hat. Als Ausnahmekünstler ist und bleibt er auch mit „Mortal Comeback“ zeitlos. Zwar kommt er aus der alten Schule, schafft aber den Spagat in die Moderne, ohne irgendwelchen Trends hinterher zu jagen. Er hat keine Angst davor, sich weiterzuentwickeln und bleibt dabei authentisch – seine Authentizität ist sein USP, sein Entertainment-Faktor. Für Ferris MC gibt es keine Szene, der er angehört, er ist seine eigene Szene. Schließt euch dieser Szene an und heißt den Asi mit Niveau, der seine Schwächen in Stärken verwandelt hat, herzlich willkommen zurück! Ferris MC ist und bleibt ein Unikat, die Hoffnung der Hoffnungslosen mit der Stimme aus Eisen und voller Emotionen. Er ist zurück um zu teilen und wenn ihr es wollt, wird er auch bleiben.

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

'Altered Carbon' is an American dystopian sci-fi
cyberpunk TV series created by Laeta Kalogridis
and based on the 2002 novel of the same name by
English author Richard K Morgan. The first season,
10 episodes, premiered on Netflix in February
2018. It has since been renewed for a second
season.

Composed by Emmy Award-winning composer Jeff
Russo, who heads the 2018 Billboard / Tunefind
Top 10 Composers of 2018 list at No. 1.
Includes cover songs by White Zombie - More
Human Than Human', RL Burnside - 'Let My Baby
Ride' and Johnny Cash - 'Ain't No Grave'.
Pressed on translucent pink vinyl.
Collector's edition LP featuring the Hello Unicorn
artwork created with the show's producers.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."