Suche:am

Best listened to from inside the womb, Duster’s 1998’s debut Stratosphere simultaneously capped off and reinvented the slow core’s first wave. A four track dreamscape that will wake the neighbors and then lull them back to sleep. Hazy, arpeggiated guitars layer over a deliberate drummer with no real place to be, as semi-inaudible vocals warn of millennial malaise and subtly encourage the listener to “rock out, rock out, rock out, rock out.

“Music for dark spaces and closed eyelids, deeply psychedelic but without sprawl, ambient music with a serrated edge of punk.”—The Ringer

“Warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.”—Vice

Since its formation in 2010, the Melt Trio has become one of the world's most innovative guitar trios in contemporary jazz. And way beyond. Stylistically speaking: If you like Tortoise, Khruangbin, but also Philip Catherine, Bad Plus or Marc Ribot, you can already look forward to one of the outstanding albums in November of this crisis-ridden year.

On their countless concerts and tours all over the world, the three Berliners have refined their special style more and more and show an even stronger will to create in details. Their combination of acoustic and electronic sounds seems more subtle and at the same time more powerful than ever, specific influences from jazz and classical modernism to post- and prog rock can at best be made out dimly, because the music simply sounds like Melt Trio. It is and remains a guitar trio that does without any comparison. "Melt is neither Nirvana on jazz, nor Bill Frisell Trio in rock, nor Massacre in ambient. Melt is Melt, unique, individual, gripping and moving," it was once said elsewhere.

POWERWOLF, die zurzeit erfolgreichste deutsche Band im Heavy Metal, meldet sich mit der Touredition ihres letzten Albums Call Of The Wild, sowie Missa Cantorem II zurück! Pünktlich zum Tourstart
der Europa-Headlinertour, welche die Wölfe mit ihrer größten Produktion jemals durch die großen Hallen
Europas führen wird, erscheinen die beiden Veröffentlichungen im Bundle und Einzeln am 11.11.2022 über
Napalm Records.
Pünktlich zur Wolfsnächte 2022 Headliner Tour erscheint das Erfolgsalbum Call Of The Wild als Touredition
inklusive neuem Artwork, das einmal mehr von der großartigen Zsofia Dankova erschaffen wurde. Dazu
veröffentlicht die Band das Vocal-Cover-Album Missa Cantorem II, auf dem elf bekannte internationale
Sänger*innen die elf Songs von Call Of The Wild neu interpretieren.
Missa Cantorem II vereinigt einige der besten Sänger*innen im Metal, darunter Blind Guardians Hansi
Kürsch, Sabatons & Majesticas Tommy Johansson, Kissin‘ Dynamites Hannes Braun oder Amaranthes &
Dynaztys Nils Molin, die das 2021er Erfolgsalbum Call Of The Wild neu interpretieren. Jeder Song des
Albums wird durch ein eigenes Vocal Cover gewürdigt, welches die Songs in einem neuem Licht erstrahlen
lässt.
Auf der Wolfsnächte 2022 Tour werden POWERWOLF einmal mehr beweisen, dass sie sich ihren herausragenden Status in der Metal Szene redlich verdient haben!

WARKINGS Warriors macht euch bereit! Die mächtigen Krieger kehren mit einer sagenumwobenen Verbündeten zurück! Keine Geringere als die legendäre Zauberin Morgana le Fay, Schwester von Artus und Herrin
der verlorenen Seelen, hat sich den vier Königen für den vierten Teil der WARKINGS-Saga angeschlossen.
Das neue Studioalbum, Morgana, erscheint am 11. November 2022 über Napalm Records. Vier mächtige
Könige – ein römischer Tribun, ein wilder Wikinger, ein edler Kreuzritter und ein kriegerischer Spartaner
– versammelten sich in den goldenen Hallen von Walhalla, entkamen aus der Unterwelt, bekämpften die
Herrscher der Finsternis und haben zur Revolution gerufen. Zurück im Totenreich wurden sie von der
unheimlichen und außergewöhnlichen Stimme der „bösen“ Zauberin Morgana La Fey in ihren Bann gezogen. Besessen von der Idee, der Menschheit ihre eigene Version der Geschichte zu erzählen, überzeugte
die Hexe die WARKINGS, den nächsten Schlachten gemeinsam entgegen zu treten und Morgana in ihren
Kreis aufzunehmen – ein Bund gemacht für die Ewigkeit!
In der Tradition von POWERWOLF, HAMMERFALL und Running Wild schmieden die WARKINGS ihre
Musik hart wie Stahl und erobern seit 2018 die Schlachtfelder der Welt. Sie versammelten ihre Warriors
ltweit und stiegen 2021 mit Revolution auf Platz 13 in die offiziellen deutschen Albumcharts ei

Als ein Drittel des New Yorker HipHop-Trios Flatbush Zombies arbeitete Meechy Darko bereits mit u.a.
James Blake, A$AP Rocky und Danny Brown zusammen. Mit ”Kill Us All” stellte er jetzt die erste
packende Videosingle aus seinem Debütalbum ”Gothic Luxury” vor, das am 26. August über Loma Vista
Recordings / Concord erschien.
Es ist die Komik der Tragik, die Meechy Darko zu seinem ersten Soloalbum geführt hat. Ausgehend von
dem entsetzlichen Tod seines Vaters, der im Januar 2020 von einem Polizisten in Miami niedergeschossen
wurde, ist sein Debütalbum kein Schritt aus der Komfortzone, sondern ein Stoß in die Realität: ”Ich hatte
keine andere Wahl, als es zum Persönlichsten zu machen, was ich je getan habe, denn glücklicherweise oder
unglücklicherweise befinde ich mich gerade in einer sehr aufrüttelnden Phase meines Lebens”, sagt der 32-
jährige Rapper über die Entstehung von ”Gothic Luxury” und die Bedeutung dessen als Momentaufnahme.
”Der, der ich gestern war, ist vielleicht schon nicht mehr der, der ich morgen bin. Ich bin nicht der,
der ich letzte Woche war. Man kann nicht sagen, wer ich nächstes oder übernächstes Jahr sein werde.”
Zusammen mit Dot Da Genius, dem langjährigen Partner von Kid Cudi und Produzenten für u.a. Jhené
Aiko, Lil Nas X und Denzel Curry sowie Grammy-Preisträger Neal Pogue (u.a. TLC, Outkast, Tyler The
Creator) hat Meechy ein vielschichtiges Debütalbum erarbeitet, auf dem sich der Flatbush Zombie so öffnet
wie nie zuvor.

Einige Größen der florierenden Post-Punk- und Hardcore-Szene, Gitarrist Frank Iero (My Chemical Romance), Gitarrist Travis Stever (Coheed and Cambria), Sänger Anthony Green (Circa Survive), Bassist
Tim Payne (Thursday) und Schlagzeuger Tucker Rule (Thursday/Yellowcard) haben sich zusammengetan
und L.S. DUNES gegründet
Die neue Band wird ihr Debütalbum Past Lives am 11.11.22 über Fantasy Records veröffentlichen.
Losgelöst von den Erwartungen und der Ästhetik ihrer bereits erfolgreichen Karrieren, kombinieren L.S.
DUNES ihre hymnischen Songs mit einer Menge Punk-Energie zu einem Sound, der mit nichts vergleichbar ist, was es bisher gab. Vom fesselnden, dramatischen Opener ”2022” über den knackigen, treibenden
Ohrwurm ”Like Forever” bis hin zum stampfenden, ausladenden ”Permanent Rebellion” und dem abschließenden, ”Sleep Cult” ist ”Past Lives” ein emotionaler und mitreißender Ritt.

Peter Gregson, renommierter Komponist, Cellist und Exklusivkünstler bei Deutsche
Grammophon, präsentiert sein sechstes Studioalbum Quartets: Three and Four. Das Album
bildet den Nachfolger seiner 2016 und 2017 erschienenen EPs Quartets: One und Quartets:
Two und schließt den konzeptionellen Kreis des Komponisten, ein „Quartett aus Quartetten“
zu kreieren.
Die ersten beiden EPs, aufgenommen in den Londoner AIR Studios, zeigten eine Bewegung des
Komponisten ausgehend von einem rein akustischen Gesamtklang auf Quartets: One hin zur
Verwendung von Synthesizern als weitere instrumentelle Ebene auf Quartets: Two. Auf dem neuen
Album, das die verbleibenden zwei Quartette einschließt, entwickelt Gregson seine Ideen zu Sound
und Aufnahmen auf der ersten Hälfte des Albums – Quartets: Three – weiter und fügt sogar noch
mehr elektronische Effekte hinzu, um reichhaltige Schallstrukturen zu erschaffen. Während er auf der
zweiten Hälfte – Quartets: Four – zu einem rein akustischen Setup in eine eher klassische Klangwelt zurückkehrt. Quartets: Three and Four wurden in Paul Epworths The Church Studio und im Abbey Road Studio
3 aufgenommen. Das Album erscheint am 11. November digital, zusammen mit der Veröffentlichung einer
Deluxe-Version, die alle vier Quartette auf CD oder Vinyl vereint.

Where the Crawdads Sing (Dt.: Der Gesang der Flusskrebse) ein mit Spannung erwarteter neuer amerikanischer Krimi-Drama-Film, der auf dem gleichnamigen Bestseller von Delia Owens basiert. Regie führt Olivia
Newman nach einem Drehbuch von Lucy Alibar, produziert wird er von Reese Witherspoon. In den Hauptrollen spielen Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr.
und David Strathairn.
Der Soundtrack, der auch die neue Single ”Carolina” von Taylor Swift enthält, wurde von dem mit
dem Academy Award ausgezeichneten Filmkomponisten Mychael Danna komponiert, der für seine stimmungsvolle Verschmelzung nicht-westlicher Traditionen mit orchestraler und elektronischer Musik bekannt
ist. Er komponierte die transkulturell inspirierte Filmmusik für ”Life of Pi”, die 2013 mit dem Oscar und
dem Golden Globe ausgezeichnet wurde, sowie Filmmusik für Oscar-prämierte und Oscar-nominierte Filme
wie ”Exotica”, ”Moneyball”, ”Capote”, ”Little Miss Sunshine”, ”500 Days of Summer” und viele mehr.

Sinnlich und hypnotisch, pendelnd zwischen minimalistischen und melodischen Tracks kommt die vierte
Veröffentlichung aus der “Morricone Segreto”-Serie vom Label CAM Sugar daher: die erstmals komplette
Veröffentlichung von Morricones psychedelisch-erotischer Musik zum Filmdrama „Quando L’amore È Sensualità“ (When Love is Lust, 1973), eines der vielen Meisterwerke des legendären Italieners.
Einige Titel waren bereits auf Compilations zu hören und haben Kultstatus bei Morricone-Fans, hier ist
erstmals der ungekürzte Soundtrack mit 11 bislang unveröffentlichten Tracks zu hören, frisch von den
analogen Originalbändern remastert.

Es sind die wohl bedeutendsten Alben ihrer Karriere: 1991 veröffentlichten Guns N‘ Roses ihr drittes und
viertes Studioalbum “Use Your Illusion I & II“ - beide am selben Tag, dem 17. September. Beide Alben,
die in ihrer ersten Verkaufswoche mit 685 Tsd. und 770 Tsd. Alben in den USA einen Verkaufsrekord aufstellten und selbstverständlich Platz #1 und #2 der Billboard Charts belegten, warfen legendäre Hits, wie
”November Rain”, ”Don’t Cry”, ”Knocking On Heaven’s Door”, ”You Could Be Mine” oder ”Civil War” ab.
Zum ersten Mal erfuhren nun alle Tracks eine musikalische Aufbereitung und kommen in zeitgemäßer
Tonqualität daher. Neben allen bekannten Albumtracks gibt es auf den Deluxe Versionen Aufnahmen von
zwei Live-Konzerten in Audio- und BluRay-Qualität, sowie eine neue Version von “November Rain“ mit
einem 50-köpfigen Orchester.
Die größte Deluxe Version der neuen Editionen bringt es auf 97 Tracks – 63 davon bisher unveröffentlichte
Audio und Video-Tracks - sowie ein 100-seitiges Hardcover-Buch, Backstage-Pässe und vieles mehr.

Die bekannte englische Pop Band The Human League veröffentlicht am 11.November das Box Set „The
Virgin Years“.
Zwischen 1981 und 1990 veröffentlichten The Human League vier Studioalben – „Dare“, „Hysteria“,
„Crash“ und „Romantic?“ Diese Alben und das EP „Fascination“ wurden in einer speziellen, limitierten Auflage auf farbigem Vinyl zusammengestellt. „The Virgin Years“ repräsentiert die beeindruckende musikalische Entwicklung einer der größten britischen Popbands aller Zeiten.
„The Virgin Years“ ist als Coloured 5LP Box Set erhältlich.

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release. After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time. That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi-instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

Sunshine Only Sometimes: Archives Vol. 2, 1972–1975 continues Anthology Recordings’ excavation, and exploration, of southern singer, songwriter, and psychedelic serviceman Robert Lester Folsom’s bountiful archives. Recorded across Georgia in various bedrooms, a barn, and a motel room with a reel-to-reel and a revolving cast of whip smart studio musicians in the first half of a dazed and confused decade, Sunshine Only Sometimes furthers Folsom’s place in the canon of long lost but eventually found independently spirited, high-flying American folk rock. When Anthology’s reissue of Music and Dreams, the sole contemporaneous album released in 1976 by Folsom, surfaced in 2010, little else was known of Folsom’s nearly five-decade deep archive of unreleased demos and fully formed studio recordings.

Wütrio is the first in a series of re-issue albums curated by legendary German DJ, producer and rare vinyl collector Rainer Trueby. 'Wütrio' is the critically-acclaimed album first released in 1987 on the Bremen based label, Thein Records . A label started by Friedrich Thein whose musical pedigree includes links to the world class and world famous Thein Brass instrument makers and retailers. 'Wütrio', the band, originally formed in the Bavarian city of Würzburg and went through line-up changes before recording this album with founding members Robert Schulte Hemming and Rudi Engel complemented by Wolfgang Pusching, Martin Kübert, Peter Wirth and the amazing vocal talents of Beate Kynast. The album is a work of art; Jazz it certainly is, but it is so much more than this one genre as it moves like a cabaret aboard the Trans-Europe Express travelling across genres and changing tracks as it picks up Samba, Jazz-Rock, Fusion, Electro-Funk and the New York Avant-Garde on its journey. From his time as one half of production duo 'A Forest Mighty Black', Rainer Trueby has been at the forefront of cutting edge Black music as creator, disseminator and curator. Previous releases through BBE include the must have 2020 compilation 'Soulgliding' and co-productions with DJ Kon on the 'Kon and the Gang' album from 2016. It is worth noting that it is Rainer himself who gave the name 'Soulgliding' to a genre of certain paced and soulful groove of music that now bears that name. His selection of the 'Wütrio' album to kick off a highly collectable series of re-issues is an inspired choice.

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

Zeke Sky is an American guitarist, pianist, vocalist and composer who has made continuous impact since videos of his playing and songs emerged on the internet in 2018. Combining influences of psychedelic rock, progressive metal, heavy metal and world music, Zeke goes against the grain in writing and performing bold and visionary songs without limitation, dealing with complex lyric issues ranging from toxic love to kingly conquests.

In the same year, Zeke played his first live event opening for KING'S X as part of a home recorded album effort. Despite the total infancy of his name, an impressive number of copies were sold of this obscure album on the web. Zeke followed up with a pair of singles in 2019 and 2020 with updated production ethics and of course more aggressive playing, and those saw favorable reviews all over the world, including in Rolling Stone Magazine (“ZEKE SKY is an incendiary of heavy metal.”).

In 2021, Zeke completed a debut label effort, »Intergalactic Demon King,« for release in late 2022. For this young composer, the future is as bold as it is long, for only the brave who accept the challenge will taste the fruits of the golden mountain. --- ---

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

Johannes Auvinen (Tin Man) and Max Ravitz (Patricia), two devotees in the cult of the TB-303, return to Acid Test with the Celestial Body Music series, a follow up to their 2020 LP Powers Of Ten.

Recorded in Ravitz’s studio in Asheville, NC, Celestial Body Music once again showcases the pair’s penchant for raw yet emotive dance music. With Auvinen’s signature TB-303 programming and Ravitz’s typical melancholic flair, the duo’s styles merge seamlessly over the course of 8 tracks that harken back to the heyday of American techno and house. Following on from Powers of Ten, the pair continue to fix their eyes firmly on the stars, as Celestial Body Music’s song titles conjure visions of listening to Dance Mania 12”s on the ISS. With a tonal palette that features the well-trodden sounds of classic analog hardware like the TR-808, TR-909, TB-303, and SH-101, Ociya demonstrate their ability to breathe new life into these old instruments through thoughtful programming, arrangement, and mixing. This is made all the more significant when considering every song was recorded live to 2-track with no editing over the course of a few days. Sweet and savory both, the new material strikes a perfect balance between emotive sensibility and dance floor appeal.

Johannes Auvinen (Tin Man) and Max Ravitz (Patricia), two devotees in the cult of the TB-303, return to Acid Test with the Celestial Body Music series, a follow up to their 2020 LP Powers Of Ten.

Recorded in Ravitz’s studio in Asheville, NC, Celestial Body Music once again showcases the pair’s penchant for raw yet emotive dance music. With Auvinen’s signature TB-303 programming and Ravitz’s typical melancholic flair, the duo’s styles merge seamlessly over the course of 8 tracks that harken back to the heyday of American techno and house. Following on from Powers of Ten, the pair continue to fix their eyes firmly on the stars, as Celestial Body Music’s song titles conjure visions of listening to Dance Mania 12”s on the ISS. With a tonal palette that features the well-trodden sounds of classic analog hardware like the TR-808, TR-909, TB-303, and SH-101, Ociya demonstrate their ability to breathe new life into these old instruments through thoughtful programming, arrangement, and mixing. This is made all the more significant when considering every song was recorded live to 2-track with no editing over the course of a few days. Sweet and savory both, the new material strikes a perfect balance between emotive sensibility and dance floor appeal.

After releasing his self-titled debut album in 2017 (On Agitated AGIT044R), Dion Lunadon (The D4, ex-A Place To Bury Strangers) and In The Red Records is proud to release his sophomore album, Beyond Everything. Beyond Everything will be Lunadon’s first release on In The Red (an ideal match for his music), as well as his first full-length since departing A Place To Bury Strangers. Written, performed and recorded by himself, the songs tap into a raw, palpable energy that blur the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies). Lunadon says; “The record was written and recorded sporadically between 2017 and 2019. I probably wrote about one hundred songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the second record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with ‘Elastic Diagnostic,’ the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.” “An arresting, noise-infected dose of psych-garage.” on “It’s The Truth”—Brooklyn Vegan “An amped up garage psych ripper.” on “Living And Dying With You”—Brooklyn Vegan “A ferocious rocker.” on “Living And Dying With You”—Destroy Exist “A gritty and raw glam-like anthem centered around chugging power chords, Lunadon’s howled and desperate delivery, forceful and propulsive drumming paired with an explosive feedbackdriven coda, ‘It’s The Truth’ further cements the Kiwi-born, Brooklyn-based artist’s reputation for crafting anthems meant to be played as loud as humanly possible.” —Joy Of Violent Movement

The Mansion were initially a prison group formed by Charles Lorenzo Blakely in 1970 while serving time in the Green Bay Reformatory at Allouez, Wisconsin. The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Larry Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, the Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in the Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs. The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that the Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for a local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of the Mansion were granted their release papers as at that time prisoners were unable to sign any contract agreements while still incarcerated. Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a gospel group, called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in 1976. Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter they recorded a solitary release for Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800) during 1980, a brief association that for several reasons was to eventually brake down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Three previously unissued Final Chapter songs can be found on Soul Junction Various Artists CD compilation “We Got A Sweet Thing going On” Volume II. The Mansion’s Gibbs 45 is now is a highly prized and sort after item amongst Sweet and Group Soul collectors.

Yellow and black splatter

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

16)- return with their heaviest and most devastating record to date, Into Dust. The new album, a collection of cautionary tales of survival and redemption, is set to an amalgamation of sludge, punk, metal, hardcore, and stoner riffs, that could only be built through 30 years of commitment to their dark sonic craft, which -(16)- continues to improve upon. From the frantic opening of "Misfortune Teller" to the undeniable pounding and swagger of "Scrape the Rocks", Into Dust lives up to its name, as -(16)- beat the listener into submission through the lowest of ends and the sour, palpable malaise prevalent throughout the album's dozen tracks. "There's a story arc in the lyrics that start with an eviction notice served amid the ruins of Hurricane Irma in the Florida Keys, to running aground metaphorically and drowning in midlife, bearing witness to the modern suffering of hunger and poverty on the Mexico California border," guitarist and vocalist Bobby Ferry says. The negativity persists on tracks aptly titled "Null and Eternal Void", and the dizzying, pill-induced "The Floor Wins". Elsewhere, "Born on a Bar Stool" sends the listener off with a sobering album closer; ending on a foggy and rainy jazz-tinged San Francisco night, with an anti-drinking drinking song, proclaiming "Raise your glass all things pass".

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl!

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Postaeolian Train RobberyI is an obscure classic from the 1970's Belgian jazzy prog scene that has become a much sought after piece in the collector's market since it was originally released in 1974. Highly inspired by both the UK's Canterbury scene and the Zeuhl sound, the debut album by Cos has been compared to the likes of Soft Machine, Gong, Hatfield & The North, National Health, Gilgamesh, Egg, Placebo, Magma or Zao, with Pascale Son's unique wordless vocals and nonsense syllables singing in a voice that some sources have compared to Flora Purim's.The album was released on the small obscure label Plus, and has arised interest not only among prog-rock psych-heads and jazz experimentalists, but also among those looking for breaks and bits to sample.



The Wah Wah reissue comes housed in a beautiful reproduction of the original gatefold sleeve, featuring a 4-page image booklet and an insert with photos and liner notes. Mastered from the original tapes. We did the first official LP reissue with its original sleeve of this album some time ago and it sold out so soon that many of you has been asking for a reprint since - here is another 500 copies, again licensed from and with the collaboration of Daniel Schell.



Comes with a reproduction of killer original poster.

First Pressing of 1,000 on Green Vinyl. Toured with Tori Amos in Spring 2021. At just 23-years-old, identical twin sisters Sophia and Jo Babb had faced a decade of darkness. Then, as Companion, they built lighthouses. With their debut album Second Day of Spring, the duo arrive at the start of a blooming new season, holding a work that softly glows with a sincerity, vulnerability, and hopefulness that they fought hard to find along their way. “A lot of this album is rooted in healing from grief and familial hurt,” says Sophia. “There are songs about marriage and healing from mistrust. Family ties that have been broken.” Second Day of Spring introduces two brilliant songwriters and mesmerizing singers as they share their stories with gazes at once light and weighted, offering listeners comfort in despairing corners.

12 of the heaviest early tracks by the master of rebetika music. Markos Vamvakaris sings from the hash dens of the Greek ports of the 1930s - mournful, poetic, bitter music of love and long nights. Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris. Markos, as he’s known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like “Hash-Smoking Mortissa” and “In The Dark Last Night” provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos’ songs. These recordings, incredibly rare and expertly remastered, mark the height of rebetika, the brief period between the music’s emergence on the recording scene in the early 1930s and government censorship of all lyrics starting in 1936. During the Axis occupation there was no rebetika recording, and though Markos had some hits in the years after the war, he never again attained this level. These are the dizzying, entrancing, and heaviest works of one of the great artists of the 20th century. Pressed on 160gm vinyl, includes full size 8 page booklet with historical notes, rare photos, and lyric translations.

Hate Propaganda's far too overlooked 2019 debut EP "World War 666" sees a much needed reissue on vinyl, remastered and enhanced by brand new artwork commissioned for the purpose by Xerox master P. Van Trigt. When it was first released on cassette tape back in 2019 by War Arts Productions, this war-torn debut offering of primeval warnoise by the mysterious Portuguese war criminals stood out immediately as a crown jewel debut for the genre and as one of the year's most definitive and underrated manifestations of extreme metal's most hateful and berserk fringe. Packing in nineteen minutes of absolute hatred, the annihilating MLP manifests as a nightmare hallucination of complete violence and negativity, evoking eons of perennial apocalyptic global planetary war and terror on the wings of its nefarious design of achieving maximum annihilation in the shortest amount of time possible. To harness this bleak pantheon of ruin, the Portuguese conquerors have assembled a weaponized and uncontrolled sonic chain reaction where grindcore, black metal, death metal and hardcore punk are all accelerated and instigated into an inescapable payload of death aimed straight at the vital sinews of humanity. A sonic maelstrom churned into shape by an onslaught of obscure violent riffs, psychotic leads and ominous laughter which, parallel to a pulverizing drum performance, emanates from oblivion with an antediluvian, negative aura. Comparisons to bands like Diocletian, Heresiarch, Tetragrammacide and Nuclearhammer will run abound, yet these would be only easy superficial conjectures as this is a manifestation of sonic extremism which dwells on a plain of excellence entirely its own. Its uniqueness transpires particularly in the maniacal drumming which underlines the band's hardcore and punk influences, and is exalted further by an unusually crystalline production and by a masterful onslaught of uber-audible riffs hiding behind nothing and seemingly going in the opposite direction of the homogenous and indiscernible sensorial smothering the genre usually opts to go in. Tracklisting: 1. World War 666 2. Neverending Mass Graves 3. Violent Nature of Human Annihilation 4. Welcoming the Nuclear War With Open Arms 5. Let the Sirens Signal the End of Times

Taken from the forthcoming album ‘Prom Nite’. In a world of beauty school dropouts and jukebox tearjerkers, Eva Lazarus (DJ Vadim, The Nextmen, and a guest on Yoda’s ‘Home Cooking’ album) invites you to come and feel ‘My Energy’. A superlatively soulful slow jam wrapped in stars and stripes, it’s a timeless, lilting breakup song, with Yoda shiftily putting in work on the decks out back. Authentic doo wop straight from a 50s picture show, Lazarus takes centre stage as she leaves a string of devastated would-be suitors in her wake. The new sound of DJ Yoda revisits a golden era of rhythm and blues – going all in on ‘Prom Nite’, his new album of retro Americana and superstar guests continues to expand his musical expertise, with his signature scratches and cut-ups craftily coming into view over Heartbreak Ridge. Cover Art by ENDLESS. Side A: My Energy Side B: Lesson 1956 ft Jamie Cullum & DJ Woody

Issued by Leo Fegin's visionary record label in 1993, this refreshed and revised reissue collection of Hungarian composer Tibor Szemző's chamber pieces with spoken text – composed at 1980s for the legendary GROUP 180 – is unlike anything else of its kind.

No one has survived life. Everyone has died from it so far. Man must realize that He is responsible for His own life and fate and must insist upon this responsibility beyond all limits. And since Man has dissociated Himself from the sphere of irrationality, He has no way of getting in touch with death, or of establishing control over it. How we achieve the final result is merely of secondary importance. If the vision is clear to everyone, there is no need at all to look back. In a time of complete mental disturbance, only one chance remains to us: crystal-clear thinking. This leads us back to total mental disturbance, which everyone has died from so far. (Pavel Havliček – Miklós Erdély – Tibor Hajas)

Text and Music | Language and Speech | Sound and Music

The common basis of the three works by Tibor Szemző heard on this album is the inalienable relationship to text – as an a priori principle. Text and music: the formal attributes of significance, intentions, and levels of meaning inherent in verbal communication as it is transformed into audible code. Language and speech: the structural level of communication, where it becomes purposeful expression, acoustic statements of variable modality. Vocalization as sublimation. Sound and music: By becoming an auditory signal, communication is deprived of its sense and reduced to musical articulation and abstraction.

Skullbase Fracture: Shards of reality – senseless, disconnected fragments of recorded “living speech” – simultaneously disintegrate and merge to create meaning through the musical process, while it is degraded and stylized to represent a single layer of the ambient noise one would hear in a hospitality setting.

Optimistic Lecture: The theses – like a practical, everyday user’s manual to cognitive tendencies and aims as they apply to the entirety of existence – convey their meaning through simplified rhythmic speech, galvanized into commands. As a counterpoint to recited prayers, they comprise a uniform soundscape.

The Sex Appeal of Death: The head-on simplicity of communication creates such extremely reductive musical interrelations that they cannibalize themselves in a necessary and inevitable fashion. And, in this manner, the text as well

Over the last ten years, The Lone Bellow have cast an indelible spell with their finespun songs of hard truth and redemptive beauty, faithfully delivered in hypnotic three-part harmony In a departure from their past work with elite producers like Aaron Dessner of The
National and eight- time Grammy- winner Dave Cobb, the Nashville- based trio
struck out on their own for their new album 'Love Songs for Losers', dreaming up
a singular sound encompassing everything from arena-ready rock anthems to the
gorgeously sprawling Americana tunes the band refers to as “little redneck
symphonies.” Recorded at the possibly haunted former home of the legendary
Roy Orbison, the result is an intimate meditation on the pain and joy and ineffable
wonder of being human, at turns profoundly heartbreaking and sublimely
transcendent.

Robert Groslot's Concerto for Bass Guitar and Orchestra represents the
next step in the evolution of the bass guitar
Groslot's composition pushes the instrument to its technical limits, while creating
a unique symbiosis between the soloist and the orchestra. Although he may not
be the first composer to write for the bass guitar in a symphonic setting, Groslot
brings a level of artistry and sophistication to the composition that will continue
and accelerate the legitimation of the bass guitar within contemporary classical
music. "The idea of a concerto for bass guitar is something that I have been
dreaming of for decades. Since its invention, the bass guitar has firmly
established itself as an essential and integral part of practically every genre of
music. The bass guitar, as we now know it, was invented and produced by Leo
Fender starting in 1951. The more portable bass guitar, in comparison to the large
and unwieldy double bass, was capable of playing at higher volumes via
amplification and satisfied the new sonic demands created by the widespread
use of electrification in popular music. By increasing the overall scale of the
electric guitar and only using the lowest four strings (E, A, D, G), Fender gave birth
to a new instrument. Traditional double bassists could quickly adapt, with the
added benefit of more accurate intonation due to the frets. Hence the original
name: The Precision Bass. At the same time, guitarists could also become bass
players when called upon. As a result, many of the early bass guitarists began
their musical life as guitar players, with the most well-known example being Paul
McCartney of The Beatles.
The fact that the bass guitar had no direct lineage like the evolution of the piano
or violin over time, led to a variety of disparate playing styles without any
fundamental methodology. Unlike the more traditional instruments, the bass
guitar does not sit upon a foundation of centuries of proven methods and
established schools of playing. The evolution of the bass guitar has been a
patchwork of trial and error by active musicians. This has led to a plethora of
personal approaches and hybrid-styles, effectively leading to the rapid evolution
of bass guitar technique. Given its relatively young history, it is remarkable how
the bass guitar has grown from being an instrument taken up out of necessity, or
as an afterthought, to being as respected and vital to modern music as any of the
older, more established instruments." - Thomas Fiorini

Iris DeMent released Infamous Angel in 1992 - Nearly 30 years later, the
album remains among the most singular and fully realized singersongwriter debuts since the invention of that category in the early '70s
The abiding strengths of the album are especially impressive ' even a bit startling '
because 1992 is not a moment usually associated with her intimate brand of
acoustic country music. In country history, the year 1992 is most immediately
affiliated with Garth Brooks, whose album, The Chase, topped both the country
and pop album charts that year, and with Billy Ray Cyrus' 'Achy Breaky Heart,'
which fueled a line dance craze. Squeezed into a playlist alongside such hits,
DeMent's doleful, hushed 'Our Town' would've sounded as if it were being
broadcast from another planet. 'People call me country,' she told journalist Ben
Thompson while on tour in Britain a couple years later. 'But country doesn't call
me country.' Let's call her country. The genre is always more expansive than what
radio stations program. It happened Infamous Angel is close kin to a different
sort of country music that was just then having a moment: specifically, country
singer- songwriters, focusing on personal, but universal, loss and hope and
favoring small acoustic combos. It may have been out of step with the
mainstream, but Infamous Angel arrived right on time

The sun sets over the ranch, a can of beer cracks, and an acoustic guitar
wrangles the day's thoughts and memories into a semblance of orderDuring moments like these, California-born and Nashville-based singer
and songwriter Emily Nenni chronicles her life through delicate songcraft
rife with honky-tonk spirit and spiked with just the right amount of soul
In possession of a deep understanding of music stoked by a lifelong passion and
sharp chops shaped by endless sets in smoky bars and sizzling doublewides, she
asserts herself as the consummate country storyteller on her full- length debut
album, On The Ranch.

coalesce koh-uh-les 'to come together in or form one mass or whole'
Tritonal have embarked on a brand new chapter in their story which
began with 'Out Of The Dark', the first single from their upcoming fifth
album 'Coalesce'
Encompassing all that they've learned on their musical journey thus far, the
upcoming album solidifies production, art and meaning.
The upcoming record is a grandiose progressive trance production that sees
Tritonal's refined sound at its very best, supported by outstanding vocal
performances from a variety of collaborators, and is already set to be a favorite
amongst fans and supporters alike. In recent weeks, the duo wrapped up festival
appearances at EDC in Mexico City and Las Vegas, Metropolis Festival in
Brooklyn, and Dreamstate Harbor in Los Angeles, bringing their captivating and
vivacious sets to crowds across the country.
Double Gatefold, Neon Magenta Color Vinyl, Insert

It was conceived bit by bit, when inspiration would sneak into a rehearsals for
shows or in between recording sessions at my studio in East Vancouver. These
little song starts or jams sprout up; incomplete, but with the potential to be full
songs. As these recordings amassed on hard drives, I would occasionally listen
back, hunting for a glimmer or an angle of potential; some of which were buried
inside long jams. These sessions happened over a five year period as I was also
recording, mixing, writing and mastering for other artists in my studio called
recRoom. In 2020, my partner and bandmate in Limblifter, Megan Bradfield and I
migrated to our cottage on a Southern Gulf Island in British Columbia. At the start
of the pandemic, recording, mixing and at my Vancouver studio wasn't a wise
idea, so I migrated my from East Van to the Southern Gulf Islands and opened
Mayne Island Sound. My partner and bandmate, Meagan Bradfield and I have
been coming to this island for years to take a break from our busy downtown
Vancouver life and during COVID we found ourselves staying here, waiting for the
madness to pass. Moving away from my busy Vancouver studio life and from
touring gave me perspective. Living in the middle of this spectacular forest on an
island has put Megan and I back in touch with nature. The combination of all
these things gave me laser focus to write new material and finish the songs we'd
started. - Ryan Dahle.

There's a certain winking resignation to the title of Nick Lowe's At My
Age, as if it were designed to be spoken with a soft, knowing sigh
Now in his late fifties, Lowe is hardly running away from his advancing years --
quite the contrary, the singer/songwriter is comfortable in his skin and his years.
Certainly, he's comfortable in his music, since At My Age marks the fourth time
that he's mined the intimate, well-worn country-rock vibe of The Impossible Bird,
and if at this point it no longer is a revelation, it's hardly lost its appeal, either. Part
of that lies in Lowe's ever-potent charm, and to overlook an album as exquisitely
crafted as At My Age is to be a fool, because nobody does this kind of relaxed
Americana as well as Lowe, who is still writing songs that stand proudly
alongside his previous classics. For instance, there's "I Trained Her to Love Me," a
song as wickedly witty and bitterly self- loathing as "Cruel to Be Kind" or "The
Beast in Me," a tune that's balanced by the wry new-love anthem "Hope for Us All,"
which has its share of gently funny lines but is nevertheless a ringing, sincere
endorsement of love, worthy of the man who wrote "(What's So Funny 'Bout)
Peace, Love and Understanding?" And that's always been one of Lowe's greatest
gifts, that he is possessed with rare humor but also a big heart, which is what
gives his music great resonance. This 15th anniversary edition of At My Age is
pressed on silver vinyl and limited to 2,500 copies worldwide. This marks the first
time this long- out- of- print classic has ever been available on color
vinyl.Packaging; LP jacket; silver vinyl

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Limited edition 180g audiophile pressing

This release compiles all of Elvis Presley's top 20 Billboard Hits during the years
of 1956-1958, beginning with his first across- the- board chart hit "Heartbreak
Hotel". These small band recordings are widely regarded as the finest work of the
King's career and among the greatest recordings in rock and roll history!

Rare & unreleased 80's bangers from Sao Tome e Principe's most iconic singer !

Bongo Joe pursues their work with friend DJ Tom B and are sharing the fourth effort in their São Tomé & Principe series : “Recordar é viver”, the first volume of an anthology dedicated to the one and only Pedro Lima, , "A voz do povo de São Tomé" (the people's voice of Sao Tomé).

“Recordar é viver: Antologia Vol. 1” features some previously unreleased tracks and gives a comprehensive look into the discography of one of the islands’ biggest stars, known for his political outspokenness as much as for his soft voice, delicate rumbas, and high-energy puxas.

With his band Os Leonenses he built a brand new genre around the strong rhythms and infectious energy of Sao-Toméan Samba Socopé ("only with the feet” in Portuguese), but with the influence of Congolese soukous, Cape Verdean Coladeira, elements from French West-Indies Cadence/Compas, and Brazilian Afoxé, it soon developed into the infectiously danceable style known as “puxa”. The band kept playing together up until Pedro’s death in 2019, performing at large events around the islands and on the continent.

But Pedro shined also on his own. Alone, he demonstrated his compositional skills and ability to balance the band’s powerful rhythm section with São Tomé & Principe’s harmonic backing vocal traditions, creating strong, dance floor ready puxas or melodic, delicate rumbas.

Pedro Lima died in 2019, leaving behind the 23 children he fathered, with thousands of mourners accompanying him to his final resting place. The public funeral, paid for by ex-president Pinto da Costa, was one of the biggest the islands have ever seen. Lima, "O cantor do povo” (“The people’s singer”), was buried with his wireless microphone, so his powerful voice would always be heard.

Brilliantly unclassifiable ambient midi-jazz salvo from Brazil’s Gabriel Guerra aka Guerrinha - member of PAN/Future Times' Lifted ensemble and lynchpin of the Rio De Janeiro underground. Very highly recommended noir sleaze x fantasy lounge music somewhere on the spectrum between Gigi Masin, Spencer Clark, 0PN, Flanger and Koji Kondo’s iconic video game soundtracks.

Deployed as the third release on the expertly curated confuso editions, ‘Cidade Grande’ sees Guerra unfurl an immersive and deeply enveloping variant of lounge jazz noir intersecting Japanese city pop, classic video game soundtracks and future-primitive kosmische signatures in a way that defies easy categorisation. Guerrinha colours outside the lines in swirling, exquisitely trippy designs that are as easy on the ears are they are hard to fully fathom over a single sitting.

Mirroring a strain of jazz music’s evolution from sophisticate lounge soundtrack to more psychedelic lustre when musicians found acid and Brazilian styles in the ‘60s, Guerrinha slants the paradigm thru the prism of late ‘80s midi with a c.21st suss that coolly echoes hauntological takes from Spencer Clark & James Ferraro to Leyland Kirby, and Eli Keszler’s electro-acoustic jazz proprioceptions, as much as emotive Kenji Kawai soundtracks. There's a complete lack of cynicism in his approach, and dense, hypnotic tracks like 'Venda Casada Village' and the moving 'Kafta Hoje' sound so completely straight-faced it's impossible not to respect the flex.

It’s a hugely trippy listen, at once calming and eerily evocative, with a wipe-clean palette of deft midi orchestrations that conjure flashbacks to soundtracks for everything from Twin Peaks to Sharky & George or Patlabor, but with more opalescent depth, dancing around motifs in holographic designs that mark the uncanny valley of perception.

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

Radio John: Songs of John Hartford is Sam Bush's heartfelt tribute to his
hero and mentor, John Hartford
With dedication, admiration, and love, Bush takes on personal favorites from
Hartford's vast catalog, including songs he played with Hartford on stage and in
the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring
himself into the performances. 'Radio John' is a testament to the impact Hartford
had on American traditional music as a songwriter, an instrumentalist, and, most
importantly, someone who fostered the careers of musicians like Bush and
countless others reinventing roots music in the last half of the 20th century.

Many will know Bernie Marsden for being a founder member of
Whitesnake, one of the biggest rock bands of all time, and writing the
iconic global smash, "Here I Go Again"
Since leaving Whitesnake 40 years ago, Bernie has forged an impressive solo
career, culminating in TWO UK Top 40 selling albums in 2021 with KINGS then
CHESS. Both were #1 in the Blues Charts and resulted in him receiving the Lord
of the Blues award by HRH.
He is acclaimed as one of the premier British blues guitarists. He has written and
recorded with some of the biggest names in the industry, composed music for
film & TV, forged a successful career as an author, hosted radio shows, awarded
an honorary doctorate from Buckingham University and amassed a priceless
collection of guitars.

Since starting Babehoven in Portland, Oregon in 2017, Maya Bon has
shown herself to be a gifted heart-on-sleeve songwriter, using music to
peel back the layers of her own experience "sometimes sad, sometimes
surreal, always vividly rendered " to reveal universal emotional truths
hidden in the most intimately personal of details
After a handful of self- released EPs and their label debut on Double Double
Whammy with 2022's "Sunk" EP, Babehoven's first full-length album "Light Moving
Time" is due October 28 2022.
"Light Moving Time" is emblematic of Babehoven's wide range of dynamics, and
each of those sounds are taken further. You can hear the pared-down languor of
"Yellow Has a Pretty Good Reputation", the smoldering guitars of "Demonstrating
Visible Difference of Height", the peculiar charm of "Nastavi, Calliope", and the
soft tenderness of "Sunk". Alternating seamlessly acrossstyles, Circles and
Philadelphia have the wispy ambient calm of a Liz Harris track, I'm On Your Team
falls somewhere between a flowy country song and an 80s power ballad, Marion
contains the plucky indie- folk warmth of Hovvdy, and Stand It and Pockets are
coated with My Bloody Valentine's wobbly shoegaze. But in contrast with those
EPs, these tracks utilize Bon's voice with greater emotional impact than ever
before. Pressed on Bone Color vinyl

Laurel Premo's latest solo work presents original and traditional music
voiced on finger-style electric guitar and lap steel
Perhaps by its most honest classification "roots guitar," the sonic vocabulary of
'Golden Loam' is informed by guitar's antecedents in American traditions - fiddle
and banjo, the rhythms, melody and intonation therein, as well as that music's
relationship to movement. Glowing, droning, tugging, scraping, revolving, Premo
bears renewed electric dirt, the golden loam layered by centuries of folk.
Following 'The Iron Trios' (2019), Premo's sophomore release builds on the dark
roots world she arranged, with seeking, untethered delivery and a masterful use
of space, on a dynamic wave of warm, gritty sustain. Laurel's vocals on two
pieces "Hop High" and "I Am A Pilgrim" are traditional calls beaconing the guitar's
response, and fold in timberly like additional instrumental lines sustaining the
drone. 'Golden Loam' was self produced and recorded during the pandemic
lockdown of summer/fall 2020. The majority of the record is solo performance,
but two featured collaborators are woven in to this embodied rhythmic collection.
Percussive dancer Nic Gareiss (Michigan) appears on tracks 5 & 9, and bones
player Eric Breton (Quebec) on track 3. Laurel Premo is a Michigan-based artist
who has been writing, arranging music and touring since 2009 with vocal and
instrumental roots acts. She is internationally known from her duo Red Tail Ring.

Etceteral are a Slovenian experimental trio (saxophone & electronics, drums, visuals) who create a propulsive, polyrhythmic futurist jazz. It is a sound marked by abstract modular explorations, hypnotic drumming, ricocheted horn textures and crystalline production. Interzones between Dub, Krautrock, Afro-rhythms, free improvisation and quantized electronic music are brightly lit on this thrilling second album. The idea of musical elasticity is central to Rhizome, the sophomore album of the Slovenian audio-visual electronic jazz trio Etceteral, the newest member of the Glitterbeat family, who debuted in 2020 with the album Ama Gi for Kapa Records. Following a series of domestic and international gigs, the band consisting of Bostjan Simon (saxophone, synth, electronics), Marek Fakuc (drums) and Lina Rica (visuals) returned to the studio, taking their ambition to meld audio and visuals to a whole new level on their debut for the tak:til imprint. On Rhizome, the band explores the interzone between groove-driven contemporary jazz, quantized electronic music, abstract modular explorations and free improvisation. Like rubber that is able to stretch and be returned to its original shape, Etceteral expands its arrangements to the point of no return, pushing its sonic architecture to the maximum without ever letting it collapse onto itself. "I like to think in terms of sonic rubber bands. We can stretch our music both rhythmically and harmonically, change tonality and return to the main theme through a different key. This process opens up new space for discovery. We recently listened a lot to Joshua Abrams and Evan Parker, musicians who know how to make their music airy and spacious," says saxophonist Simon

cheerbleederz are so excited to share their debut album this year and
Alcopop! Records are too!
As the band explains: "It feels like a long time coming, as we started working on it
in lockdown in 2020, writing, rehearsing, and recording in the pockets of time
when we could. It further bonded us at a time where being creative and having a
collective output became more important than ever. These are our favourite batch
of songs yet - full of character, hope, energy, misery, introspection and rage, we
wanted to write complex songs that reflected our complex selves!"
"Tender, fastidiously-crafted indie...feels like Phoebe Bridgers, but a little more
hoppy" - Get Alternative
"Earnest and deeply full of integral substance...will leave you yearning for more" -
Noizze 8/10
"cheerbleederz are a vision of mutual respect, support and friendship" - Girl Gang
Leeds
"A perfect amalgam of punkier and poppier moments" - For The Rabbits
"Our new favourite band" - LOUD WOMEN
"Splendid" - God Is In The TV Zine
"Superb" - CLASH

In May of this year we invited both Sister John and The Bluebells to
spend a day in Green Door Studios - We also charged them both to cover
one of the others songs
The Bluebells chose "Glasgow Is A Rainbow" from Sister John's "I Am By Day"
whilst the latter chose the formers "Young At Heart" - brave decision ?Both songs
were recorded by Ronan Fay then mastered by Paul McGeechan.

Using just piano and a Weissenborn guitar, Helge Lien and Knut Hem
sculpt a timeless sound that conjures up images of endless planes,
feelings of freedom and nostalgia
They make use of the harmonic vocabulary of jazz, and the feeling of Country and
Bluegrass while occasionally hinting at ambient and film music. Journalists have
come up with clever genre names such as "Nordicana" to try and capture this
direction. But although Hem and Lien share influences with these acts, their style
feels like a distinct own branch within this fascinating scene.
At its very core, 'Villingsberg' is music for inner wandering, a cosmos of solitude,
in which the silence behind the notes is as important as the actual sounds made.

This summit meeting of the two giants of post-war American jazz
attracted enormous attention and accolade from the world jazz fans
when released in 1974
Jackie McLean (1931 - 2006) and Dexter Gordon (1923 - 1990) who were at their
pinnacle of creative aptitude joined forces to thrill the packed fans at
Copenhagen's Jazzhus Montmartre in the summer of 1973.After 49 years this
180g audiophile version may bring back the heat wave of jazz in Europe of the
'70s.
Jackie McLean: alto saxophone
Dexter Gordon: tenor saxophone
Kenny Drew: piano
Niels-Henning Ørsted Pedersen: bass
Alex Riel: drums

Certain to become a staple of countless Christmas and Holiday music
collections for many years to come, More The Merrier, the 8-song holiday
EP from pop artist and songwriter Sarah Reeves featuring the song,
"Winter Wonderland (feat
Clark Beckham)" will fit perfectly alongside Bing and Nat and the Vince Guaraldi
Trio. Listeners are sure to experience all of the sounds and feelings the holidays
have to offer or remind us of, from the lighthearted, jazzy fireside moments to the
sacred. More The Merrier was produced and arranged by Ben Schofield and Mark
Campbell. Sarah signed her first record deal at age 18. For more than a decade, in
addition to pursuing her own artistry, she has dedicated a vast portion of her
career to writing songs for other artists and TV and film. Her music has appeared
in Disney Plus and National Geographic's six- part original series " Welcome To
Earth," starring Will Smith; Disney's Raya and the Last Dragon international trailer;
promos for "American Idol " and UFC; and on television series across major
networks like ABC, NBC, CBS, FOX and Netflix, among others. " Winter
Wonderland is one of the first songs I play every year at the beginning of the
Christmas season, "shares Reeves. " It is simple, classic and I was so excited to
record my own version. I asked my friend who is an incredible artist named Clark
Beckham to join me on this song. He was the perfect addition. I hope this song
brings a magical feeling of warmth and nostalgia this Christmas."
Reeves has also been featured on tracks by high-profile DJs, including Gatt so,
Laidback Luke, Justice Skolnik, R3HAB, and Armin Van Buuren. Having amassed
more than 65 million career on-demand streams, the Curb | Word Entertainment
artist has garnered 26 million Pandora lifetime streams and over 37.5 million
YouTube views to date.

On April 29, MCC Magna Carta Cartel broke the 5 years silence with the
new speaker-breaking single "Silence", the first from their long awaited
second album "The Dying Option" - An album best described as rock
music from the world of dreams
Led by Martin Persner, one of the Nameless Ghouls of Ghost. MCC create
cinematic sounding themes with captivating melodies and poetic lyrics. Their
upcoming album "The Dying Option" offers a ticket into a state of mind seldom
seen or heard in modern music. Here they manage to use classic rock to create
an ambience beyond the regular riffs of today's rock and deliver ten fantastic
songs far beyond what anyone could have expected. "The Dying Option" is
produced by Niels Nielsen (In Flames, Ghost, Dead Soul) together with MCC. The
album artwork is created by the renowned film director Claudio Marino
(Behemoth, Watain, King Dude) and David M. Brinley (Ghost). MCC teamed up
with acclaimed Swedish film director Sebastian Jern for the Silence-video.

40TH ANNIVERSARY EDITION.With this album a fuse was lit, leading to
an explosion that spawned a new religion: Bad Religion
How Could Hell Be Any Worse?, their second record and first LP is nothing short
of genius. Shattered-glass guitar riffs, fast, furious drums, and a 16 year old Greg
Graffin's voice for the ages. The coalescence of lyrical intellect and savage music
make for a sound seldom (if ever) heard before. The impact of this record still
resonates to this day. Classic tracks like Fuck Armageddon...This Is Hell,
American Dream, and The Voice Of God Is Government are as crucial and socially
lucid as the day they were created in a southern California garage. When the
greatest punk records of all-time are discussed, How Could Hell Be Any Worse? is
sure to be mentioned.

Für Fans von: (frühe) Paradise Lost, My Dying Bride, Anathema.
Die dänische Band Empire Drowns, die eine geschmackvolle Mischung aus Doom/Death-Metal der alten Schule und düsterem Gothic-Rock bietet, ist
nach der 2013er EP "Bridges" endlich bereit für die Veröffentlichung ihres Debütalbums.
Auf "Nothing" hat die Band eine härtere Herangehensweise an ihren Doom Metal angestrebt, und Marco Angioni von den Angioni Studios (Tygers
Of Pan Tang, Detest, Thorium etc.) wurde beauftragt, einen Sound einzufangen, der den frühen Neunzigern nahekommt, als das Academy Studio in
Großbritannien der Ort war, an dem Bands dieses Genres bevorzugt aufnahmen. Zu den Alben, die den Sound von "Nothing" inspiriert haben, gehören "As The Flower Withers", "Gothic" und "Serenades".
"Nothing" zeichnet sich durch eine intensive Rhythmussektion und aufsteigende, melodische Gitarrenarbeit, atmosphärische Keyboards aus, die
zusammen mit dem gleichzeitig düsteren, knurrenden Gesang eine schwere und fesselnde Stimmung erzeugen.
Als Songwriter zeigen Empire Drowns eine erfrischende Vielfalt. Jeder Song hat seine eigene, unverwechselbare Identität, doch das Ausloten verschiedener musikalischer Wege führt zu einem ganzheitlichen und nachdenklichen Sound, den Empire Drowns mit Stolz ihr Eigen nennen können.
Empire Drowns besteht aus erfahrenen Musikern von Bands wie Aurora, Decorate. Decorate, Urkraft, Withering Surface, Meridian & A Sun Traverse.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

The musician Roberto Enrique "Tito" Chicoma forged one of the most solid and constant career paths in Peruvian music. Self-taught, he started playing tenor saxophone in his father's orchestra, also playing the trumpet, piano or trombone when the occasion arose. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the Koki Palacios and Armando Boza orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as "El Show de Juan Silva", where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group Los Teen Agers. The praise the single received led to the recording of his first LP, "El ritmo de moda", where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: cumbias y boogaloos. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of Andrés de Colbert, Mario Cavagnaro, Eulogio Molina and Lucho Macedo recorded cumbia hits, then the genre soared when groups like Los Pacharacos and Los Demonios del Mantaro mixed it with Andean music.

Desumanos' fresh mixture of guitar driven melodies is as evocative as it is playful. This instrumental project is made up of a dream-team of Brazilian producers and musicians. Kassin, on bass, was member of The +2's band and co-produced Gilles Peterson's Brazilian project Sonzeira, featuring legendary artists such as Elza Soares, Naná Vasconcelos, Wilson Das Neves_ While Liminha, on guitar, is a former member of Os Mutantes. His signature sound is heavily influenced by classic instrumental surf music, but tropical rhythms are also dropped in the mix. The band is completed with Felipe and Manoel Cordeiro (on guitar), one of the lambada originators, and Stephane San Juan (drums), currently playing with David Byrne. Across the tracklist of this Desumanos debut album we can find a unique combination of musical styles that are all filtered through the sieve of instrumental surf music without losing their roots anchored in tropical sounds such as cumbia, African rhythms and, of course, popular genres from Brazil such as forró or lambada. Ten original songs in which the guitar is the undisputed protagonist and the tropical atmosphere emanates through each note.

Heavy-duty Colombian salsa group The Latin Brothers were formed in 1974 by the Discos Fuentes A&R team as a sibling band of Fruko Y Sus Tesos in order to provide the local market with a trombone-heavy ensemble in the mode of the popular Nuyorican Willie Colón orchestra. The band was led by Julio "Fruko" Estrada on bass, featuring basically the same musicians as Los Tesos, minus the trumpets and highlighting the cutthroat trombone work of Gustavo "La Pantera" García. At the time Fruko's Tesos were going through a transition and his talented former lead vocalist, Píper Pimienta, left to sing lead in The Latin Brothers while Joe Arroyo and Wilson "Saoko" Manyoma took over vocal duties in Los Tesos. "El Picotero" was The Latin Brothers' debut album and remains to this day a favorite of salsa dura fans the world over. The album established The Latin Brothers as a bona fide contender in the crowded field of trombone-centric salsa bands taking over the airwaves and dance floors around Latin America. With this bold and brassy record The Latin Brothers would inspire future Colombian salsa orchestras as well as helping establish Medellín as a center of salsa almost as famous as Cali.

To celebrate its first anniversary Lempuyang firmly stakes its claim amongst the forefront of deep techno labels with an outrageous line-up consisting of eight of the most respected heads in the business, all doing their stuff across four pieces of vinyl. Among the highlights are the growling menace of Sa Pa's 'Randomer', Gradient's fizzy, dubbed up 'Dopamine Rain' wearing its Basic Channel influence on its sleeve, the ghostly rave stabs of Deadbeat's 'Planterwald' among a sea of radioactive white noise and the clear, sculpted linear grooves of 'Growing Pains' by Bluetrain. That said, there's no weak link among the eight cuts and put together into one coherent package it's more than the sum of its part.

Es sind die wohl bedeutendsten Alben ihrer Karriere: 1991 veröffentlichten Guns N‘ Roses ihr drittes und
viertes Studioalbum “Use Your Illusion I & II“ - beide am selben Tag, dem 17. September. Beide Alben,
die in ihrer ersten Verkaufswoche mit 685 Tsd. und 770 Tsd. Alben in den USA einen Verkaufsrekord aufstellten und selbstverständlich Platz #1 und #2 der Billboard Charts belegten, warfen legendäre Hits, wie
”November Rain”, ”Don’t Cry”, ”Knocking On Heaven’s Door”, ”You Could Be Mine” oder ”Civil War” ab.
Zum ersten Mal erfuhren nun alle Tracks eine musikalische Aufbereitung und kommen in zeitgemäßer
Tonqualität daher. Neben allen bekannten Albumtracks gibt es auf den Deluxe Versionen Aufnahmen von
zwei Live-Konzerten in Audio- und BluRay-Qualität, sowie eine neue Version von “November Rain“ mit
einem 50-köpfigen Orchester.
Die größte Deluxe Version der neuen Editionen bringt es auf 97 Tracks – 63 davon bisher unveröffentlichte
Audio und Video-Tracks - sowie ein 100-seitiges Hardcover-Buch, Backstage-Pässe und vieles mehr.

Michele Manzo is an esteemed producer, musician and DJ who has collaborated with a fine list of globally recognised talents such as Omar Lye-Fook, Georgia Anne Muldrow and Declaime, and Yancey Boys, amongst many others. His new EP on Detroit don Wajeed's Dirt Tech Rack label showcases his original house style with opener 'Around Brasilia' bring that South American flair. The bird claps, shuffling samba beats and lively percussion all bring the heat. Wajeed then remixes it into a tougher, more drum lead rhythm. The flip side offers the deep but metallic percussive workout that is 'A Minha Vida' and the soul drenched grooves of 'Brilhante's Anthem.'

Italian sound artist GIULIO ALDINUCCI returns with his 4th album on KARL: "Real" is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed "Borders And Ruins" (2017), "Disappearing In A Mirror" (2018) and "Shards Of Distant Times" which all made it onto several year's best lists.

With now his 4thalbum for Karl, the sound artist from Siena / IT has proved a steady and prolific artist on the label roster. And each time, GIULIO ALDINUCCI delivers a new ambient masterpiece that clearly carries his signature as composer / producer and yet reveals a slightly different approach to his modus operandi. ALDINUCCI's massive layers of sound, built from field recordings and an array of electronic gear, blend droney ambient with heavenly voices / sacred music that create an atmosphere of a consolatory melancholy – alien, but with a graspable presence of human souls. And each album deals with a topic that ALDINUCCI came across in his observations of and reflections about today's society.

In the words of GIULIO himself:

"The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. "Real" is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism."

“24” is Minuit Machine’s 4th LP. Electronic masterpiece, subtle mix of dark wave, techno and electropop, “24” is both surprising and seductive. Authentic, emotional and powerful, “24” is a real immersion into Minuit machine’s dark, dystopian and futuristic world. Through this LP, Hélène and Amandine are facing all obstacles and disappointments life brings on their way. Each track is a self-affirmation, a rallying cry and an urge to live. The instrumental part is clearly marked and contributes to create the band’s unique sound. The strong beats are a call to dance while the synths, stabbing and emotional, will definitely move you. Finally, the deep basses give the tracks an “EBM” touch. Vocal lines are more pop, with less reverb. They are meant to obsess and stay in your head all day long. They were thought of as a 90's dance music chorus, but with feelings. As usual, the lyrics are very personal and describe several states of mind. Since their creation, Hélène and Amandine kept on reinventing themselves in order to translate their inner questioning and emotions into music. From this point of view, “24” could be Minuit Machine’s most accomplished work since each track sounds like a confession.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. The timeless songs of 'Mek A Menshun' amply reward the listener who can penetrate into the mystical musical realms of Rastafari. Longtime fans of Midnite and Akae Beka will note that Vaughn Benjamin's singing on 'Mek a Menshun' reached new heights of melodic delivery and emotional intensity. Coupled with his always poetic and insightful lyrics, these 10 original songs rank among his best recordings to date. The title track 'Mek A Menshun' includes vocals by Protoje Grammy (R)-nominated artist.

Mek A Menshun features the stellar musicianship of the ZIK distinguished in typical fashion by the rock-solid drumming of Lloyd "Junior" Richards. On this album, his playing is complemented by Aston Barrett Jr. ("By Day", "Only Now") and Kirk Bennett ( "Kagm Mystory", "Mek A Menshun"). The signature stylings of the other core ZIK musicians are augmented by horns (Andrew "Drew Keys" Stoch -trombone, Donald "Jahbless" Toney -saxophone), flute- Sheldon "Attiba" Bernard, kette- Andrew "Bassie" Campbell, and the guitar of Chet Samuel. ZIK guitarist Andrew "Moon" Bain contributes a string arrangement on "Only Now". Throughout the album, Laurent "Tippy I" Alfred's spot-on organ shuffle bubbles the rhythm forward. Many of the 'Mek A Menshun' tracks were among the last recordings done by the veteran engineer Gary Woung.

Originally released digitally and on CD, this LP is now being released for the first time on as a 12" vinyl LP courtesy of Before Zero Records.

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

Selected Productions is a collection of tracks produced by Tom Chasteen in the late 90s and released on the Exist Dance label.
Exist Dance started in Los Angeles in 1991 and was among the first labels to emerge from the LA Rave scene of the time, although musically the label pursued its own path , sometime in tune with rhythmic warehouse madness, sometimes heading elsewhere.
These tracks emerge from later in the Exist Dance story, when Tom Chasteen was living in Prescott, AZ, performing at Phoenix and Tucson raves and clubs and steadily releasing small pressings of 12” singles and EPs.

Ghost Story is a high desert tale, emerging from the hours long Roland 303 and Space Echo based live performances Tom was doing at the time, condensed into a dramatic vinyl side and featuring guest guitar work from Clive Wright.

Champion Sound is a remix of a 1991 Exist Dance release, the original being perhaps the first “Breakbeat” track from the West Coast. This version expands the concept of remix to its limits, keeping only some vocals from the original and setting them free in a new psychedelic landscape.

The Accident Of Birth takes the breakbeat style to a darker galaxy.

A psychedelic masterpiece from prolific producer and pioneer of the genre Jake Stephenson. Originally released on his own Ambient Space Acid records in 1994, both tracks offer an unparalleled celestial listening trip. Licensed in collaboration with the artist's family and faithfully remastered.

Available again. Note price increase. The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: "Hands down this album birthed the neo-soul movement.") Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths.

Repress !

Heavy 180g black vinyl. Expanded Edition w/ liner notes, obi tag & photographs. Sirio Ultra Black debossed sleeve. Half Speed Mastering) 25th anniversary audiophile edition. Sublime and perfectly produced cutting-edge ambient techno masterpiece made in 1996, an album as underrated as it is essential. A true timeless and unique classic that exists within its own genre and which still pushes the envelope of electronic music that transcends the club experience.

• DELUXE HEAVYWEIGHT SLEEVE WITH SPOT-VARNISH AND ALTERNATIVE ARTWORK
• INCLUDING INSERT WITH LINER NOTES
• PVC PROTECTIVE SLEEVE
• 1994 BANK HEIST MOVIE PRODUCED BY ROGER AVARY & QUENTIN TARANTINO
• SCORE BY TOMANDANDY (THE HILLS HAVE EYES, THE STRANGERS)
• AVAILABLE ON VINYL FOR THE FIRST TIME
• LIMITED EDITION OF 2000 INDIVIDUALLY NUMBERED COPIES ON FLAMING COLOURED VINYL

Killing Zoe is a 1994 crime / bank heist film written, directed and produced by Roger Avary and co-produced by Quentin Tarantino. Killing Zoe follows the story of a safe cracker named Zed who returns to France to aid an old friend in performing a doomed bank heist. The film was labeled by acclaimed film critic Roger Ebert as “Generation X’s first bank caper movie”. After the production of Killing Zoe, Avary and Tarantino continued their collaboration and produced both the iconic award winning movie Pulp Fiction and several radio dialogues in Reservoir Dogs.

The score to Killing Zoe was produced by Tomandandy, aka Thomas Hajdu and Andy Milburn. This duo is best known for their horror scores like The Hills Have Eyes and The Strangers amongst others and many collaborations with great artists such as Lou Reed, David Byrne, U2 and Laurie Anderson.

Killing Zoe is available on vinyl for the first time as a limited edition of 2000 individually numbered copies on flaming coloured vinyl and includes an insert with liner notes.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin.

MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture!


SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards.

Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others.
The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin.


Press quotes:
"Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / AllMusic


"Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune


Musicians:
Simon Shaheen: Oud, Violin, Viola
Najib Shaheen: Oud
Sheikh Taha: Accordion
Anton Hajjar: Ney
Paula Bing: Flute
Ramzi Bisharat: Tabla
Hanna Mirhige: Mizhar
Michael Baklouk: Daff
Bobby Farah: Sagat
Ibrahim Salman: Quanoun
Artemis Theodos, Gabriel Palka, Nessim Dakwar, Kamil Shajrawi: Violin
Mike Richmond: Double Bass
Michael Finkel, Vladimir Greenberg: Cello
Laura Shaheen, Louise Salman, Maurice Chedid, Nermine Rawi,
Simon Shaheen, Youssef Kassab: Chorus

On their debut LP “Pome”, Liai has given us a stunning work of expertly crafted rhythmic ambience, inspired by the intimacy and solitude of the midwestern countryside. Having grown up in rural Missouri, Liai channels the mixed feelings that can accompany solo contemplation in nature - expansiveness, sentimentality, vulnerability and eeriness. This deeply personal set of tracks took 3 years to make, revealed in the precision of sound design and use of space. The work feels at once familiar and organic, yet technical and futuristic, almost alien - a product of digital melodies, granular processing and frequent sampling of their own previous works.

Bio:
By way of rural Missouri to Chicago to New York, Liai melds sonic elements of each city from pastoral, expansive drones to Chicago experimentalism and the rhythmic ambient that’s arriving on both coasts of the US. With two albums forthcoming, their work marks the meeting point of experimental sound design with emotional pop-like melodies.

2022 limited edition of this Japanese no wave gem from 1982. With extended liner notes and interviews with band members about the recordings of the album, as well as unpublished photographs from 1981 by Jibiki Yuichi.

The Japanese punk rock movement known as Tokyo Rockers began in the summer of 1978. It incubated an independent music culture as well as a host of fascinating, individualistic musicians. One of the more striking units was the male-female duo Maria 023. NON played bass for them, and it was here that she first attracted attention. However, Maria 023 was short-lived, and NON would not reappear until the following year, August 1979, on stage at the legendary concert event "Drive to 80s". Her unbilled performance at the event consisted of several songs for solo bass and vocals, and her combination of intensity and a distinctly female emotionality made a striking impression. In the months that followed, NON continued to play solo and she became a pivotal presence among the female rockers on the scene at the time.

Finally she shifted from solo to group performance, and formed NON BAND. After several member changes, the line-up stabilized into a unique trio with Kinosuke Yamagishi on violin and clarinet, and Mitsuru Tamagaki on drums. It was with this line-up that the group reached a musical peak. At the same time, the Japanese punk and new wave rock scene was moving in a new direction, as a second generation of artists appeared and mushrooming independent labels began to play an increasingly important role. I myself started a label called Telegraph Records in 1981 and worked hard on record releases and building a distribution network.

Since starting the label, I had wanted to release a record by NON BAND. There were many vicissitudes before it could happen, but in February 1982 NON BAND's first album was released as a 10-inch LP on Telegraph Records, the label's fifth release. In the early Japanese indies scene, if a release sold 1000 copies it was counted as a significant success. The NON BAND album went through several repressing and sold 2000 copies. The album was a hit and the band's critical reception and popularity suddenly took off.

The shows that followed the release of the album were given a boost by the addition of two female rockers, the guitarist Kummy and keyboard player Mitsuwa. The group was reaching a real musical peak and everyone expected more great developments, but just six months after the release of the album the group would grind to a halt. Members quit the band one after another, and with no possible replacements to be found, NON herself faded away from the scene.

NON BAND's career in the early Japanese indies scene was thus short-lived. But their sole album was reissued twice on CD, and remained popular with listeners. However, the group's history was to have a second chapter.

NON ended up returning to her hometown, snowy Hirosaki in the far northern prefecture Aomori. There she raised two children and took over the running of the family business, an arts supplies store. Her thoughts turned once again towards music, and in 1999 she took up her bass again and began to sing. She invited two fabulous musicians, Keiji Haino and Tatsuya Yoshida, to Hirosaki, and performed together with them as well as solo. This marked the beginning of a new phase for her, and she played live in Tokyo and released a solo album, "ie". She got back in touch with Yamagishi and Tamagaki and reformed NON BAND. They added Emi Sasaki on accordion and began to play a handful of gigs each year, bringing a mature depth to their undiminished power and dazzling a new generation of fans. In 2012 the group released an album of recent live performances entitled " NON BAND Liven' 2009-2012". I released the album on the newly reanimated Telegraph Records.

NON still lives in the north, in Hirosaki. The city is famous for its summer Neputa festival. The first track on this album, "Duncan Dancin'" is almost a theme song for NON BAND, but its rhythm is taken from the ohayashi music that is performed in this festival, as large floats and troupes of dancers wind their way through the streets. The title refers to the legendary dancer, Isadora Duncan. The image perfectly represents NON herself: Isadora Duncan dancing to the earthy rhythms bubbling up out of the north land.

Nov 9, 2016 Jibiky Yuichi (Telegraph Factory)

In order to achieve a meticulous sound quality the reissue version is cut on 12" vinyl instead of the original 10" format. The original cover artwork has been reproduced and there are liner notes by Jibiky Yuichi with unpublished photos of NON BAND.

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner

Eclair Fifi is back with the first new release on her River Rapid label in 2 years. Rapid Remixes brings together two of her favourite producers - Montreal legend and fellow LuckyMe alumni Jacques Greene and rising NYC star AceMo - to reimagine 2 key tracks from the labels previous releases - DC Salas and Santiago Salazar. These have been secret weapons amongst select djs for a while.

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Einstürzende Neubauten producer Boris Wilsdorf, Karl O’Connor aka Regis and MY DISCO's Liam Andrews assemble as EROS, bottling no-wave/industrial lightning with a tight set of pulverized, widescreen torched-songs that rasp, grate and throb somewhere between This Heat, The Cure, Cabaret Voltaire, Alva Noto x Pan Sonic.

An industrial fantasy of flesh and steel, ‘A Southern Code’ is the stunning continuation of the trio’s work at Wilsdorf’s pivotal Anderesbaustelle studio on Regis’ watershed album, ‘Hidden In This Is The Light That You Miss’. Rejoined by another key muse, Anni Hogan, and Einstürzende Neubauten’s Jochen Arbeit, they effectively galvanised a new band, EROS, during long days and nights in the studio across 2020 and into 2021. The sound they make is fiercely lean, shaped by Wilsdorf’s manacled mixing and anchored in the frankly sexy as f#ck swerve of Regis vocals and his snake-hipped rhythm section.

The first songs issued from those sessions form a lustrous new high point of contemporary industrial and dance music, one porous to Kurdish dabke as much as archetypal goth, pulsing with a metallic bloodlust and spatialized by Wilsdorf’s genre-forming tekkerz in a way that seriously rewards with proper amplification. Judged on its immediate merits, it’s the sort of record that could have feasibly come out at any point between the ‘80s and now, but closer inspection reveals a discreet framework of sculpted subbass and sleekly rolling traction that betrays the modernity of minimalist D&B physics and up-to-the-second sound design that places ‘A Southern Code’ in a timeless echelon.

Registering the venomous drums and over-the-shoulder whispers of its title track, plus the incendiary middle eastern horns of ‘The Crawling Man’ - a real parallel dimension take on The Cure’s ‘The Top’ - to the post-apocalyptic lounge lizard styles of ‘In This Place’, and the unheimlich creep to ‘Nature Unborn (From Sun to Sun)’, the band’s first album plants a vital stake in the ground for industrial musick at the crest of a new decade.

2022 marks the 25th anniversary of Suction Records, the Toronto-based electro/IDM label founded in 1997 by two emerging producers, Lowfish (aka Gregory De Rocher) and Solvent (aka Jason Amm), the latter still overseeing the label to this day. The label’s inaugural release was a split Lowfish/Solvent 12”, marking both artists’ debut vinyl appearance.

Gregory and Jason had known each other since high-school, but a deeper friendship was forged during their university years, after Gregory introduced Jason to early Rephlex releases by Aphex Twin and µ-Ziq. Gregory had been making electronic music in his bedroom for more than a decade, but it was those Rephlex releases that ignited Jason’s passion to do the same. After several years of obsessive gear buying, music making, and playing tracks for each other, Lowfish and Solvent had hit their stride, and their demos even attracted the interest of legendary early IDM labels labels Skam (for Lowfish), and Isophlux (for Solvent). But things were slow-moving in those days — letters, faxes, phone calls… nothing was panning out. So that’s when they decided to start their own label, and put out 300 copies of this 12”, suction001.

The label was heavily inspired by contemporary artists like AFX, Autechre, and Panasonic, but on suction001, those influences collided with their ‘80s synth-pop and industrial roots to create something unique. 25 years later, it still sounds fresh, and like nothing else out there. On suction001, 808 drum machines are run through distortion and breakbeats are chopped and mangled, contrasting with melodic OMD-style leads and catchy synth-pop basslines — a sound the label would refer to as ‘distortion pedal new wave.’

Over the past 25 years, Suction’s sound has morphed and evolved, but in recent years has shifted back to it’s original Rephlex-inspired roots. That makes 2022 the perfect year to revisit this wild, 1997 debut, now reissued in a new, expanded edition for it’s 25th anniversary. The reissue adds 2 bonus tracks — a 1999 remix by Detroit electro-punk duo ADULT., along with a previously-unreleased version of Lowfish’s A1 cut, and also features new and improved artwork, including an insert with full label discography.

Limited to 500 copies, and comes with a Bandcamp download card.

Black & Opaque Silver vinyl. ZZK Records Presents Uji's TIMEBEING. A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentinian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America and its intersection with various strains of electronic music but Uji taps into traditions both musical and spiritual that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. Some of that mythology takes shape in the TIMEBEING film. Written by Uji himself, the eight-part opus has been brought to life by Jazmin Calcarami, who makes her directorial debut following years of working as an experimental make-up artist with the likes of Björk and Cirque de Soleil. On stage, the transportive TIMEBEING live show is set to premiere at the Artlab Cultural Center in Buenos Aires, where it will be debuted as a part of a weekly residency this spring. More than just a concert, it's a dazzling theatrical experience, complete with dancers, costume changes, arresting visuals and even an on-stage "ship" (shaped like mollusk) where Uji himself will perform. "What we see on the surface, is only that the surface," says Uji. "There is so much more. Music is the bridge and the possibilities are limitless." Track listing: 1. Mito 2. Oropo 3. Truenatruena 4. QuemaQuema (feat. Nyaruach) 5. Kinto 6. Lunay (feat. Zola Dubnikova) 7. Flechas 8. Sirios (feat. Kristine Barrett)

A Cocktail D'Amore resident - Trent - also a busy producer and mixing engineer based in Berlin, brings us some of his latest creations fresh from the studio. Heavy on the percussive side, the A-side distills a collage of disco samples overlayed with tripped out synth effects and bass lines under trance inducing vocals. At just under 130BPM Trent takes the foundations of dancefloor music and re-constructs a highly effective DJ tool that will set the tone for new things to happen on any dancefloor. On the B-side “Equinox” at 110BPM brings things down a notch with a darker tripped out chugger that might serve as a mild DMT trip soundtrack or a Monday morning session in the Cosmic Hole. Mastered by Man Made Mastering.

For the 6th time, dark metal legends AMORPHIS hit the #1 chart position in Finland with an album and 'Halo' is a pure gem featuring some of the best melodies and progressive riffs that the band has written in their 3 decade spanning career. With hits like "The Moon" or "On The Dark Waters", 'Halo' was voted 'album of the month' in Metal Hammer (GER), Rock Hard (GER), Spark (CZ) and Legacy (GER) and now, right in time for AMORPHIS' co-headline-tour with Eluveitie, they launch a brand new Tour Edition CD including the previously unreleased bonus track "The Well" and a new artwork design, and two limited (500 units) splatter vinyl editions

For the 6th time, dark metal legends AMORPHIS hit the #1 chart position in Finland with an album and 'Halo' is a pure gem featuring some of the best melodies and progressive riffs that the band has written in their 3 decade spanning career. With hits like "The Moon" or "On The Dark Waters", 'Halo' was voted 'album of the month' in Metal Hammer (GER), Rock Hard (GER), Spark (CZ) and Legacy (GER) and now, right in time for AMORPHIS' co-headline-tour with Eluveitie, they launch a brand new Tour Edition CD including the previously unreleased bonus track "The Well" and a new artwork design, and two limited (500 units) splatter vinyl editions

clear vinyl

Colours Of Absence is the follow up to Original Soundtrack. Both albums were written during the 2020 pandemic lockdown, which was no doubt a phase of experimentation and pushing boundaries, as producers found themselves with a lot of time and no dancefloors.

This saw ASC pushing himself creatively and focusing on instrumentation within his ambient music, and in the case of both Original Soundtrack and Colours Of Absence, this meant the piano. The piano focus is a little less obvious in Colours Of Absence though, as this album attempts to strike a balance between ASC's 'traditional' beloved ambient work, and the aforementioned Original Soundtrack. 9 tracks spread over two slices of clear vinyl that will take your emotions on a journey like no other. Sit back and absorb Colours Of Absence.

Including wanted vinyl tracks by Paul Kalkbrenner, Tori Amos, The Knife, Trentemøller, Yeah Yeah Yeahs, Goose, Zombie Nation and Bomfunk MC's.

Erstmalige Vinyl-Wiederveröffentlichung des von der Kritik gefeierten dritten Albums der saharauischen
Tuareg-Gruppe Tinariwen, ”Aman Iman: Water is Life”. Das 2007 international veröffentlichte und hier
auf 180 Gramm schwerem Vinyl wiederveröffentlichte Album wurde von dem langjährigen Partner Justin
Adams produziert und enthält die Stimme und Gitarre des Gründungsmitglieds Mohammed Ag Itlale. Das
mit dem GRAMMY Award ausgezeichnete Kollektiv spielt einen gitarrenbetonten Zweig der malischen
Musik, der als Tishoumaren bekannt ist, einen perkussiven, rockorientierten Wüstenblues.
Das Album erscheint als 2LP.