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Nach den letzten Jahren, die durch ein mit dem American Music Award und dem iHeart Radio Award ausgezeichnetes internationales Nummer-1-Album ”Impera”, das auch in Deutschland die Spitze der Charts
eroberte, eine RIAA-zertifizierte Platin- und eine UK-zertifizierte Gold-Single sowie eine massive Welttournee, die in dem rekordverdächtigen Kinofilm ”Rite Here Rite Now” verewigt wurde, welcher es bis auf
Platz 3 der deutschen Kino-Charts schaffte, geprägt waren, wird 2025 für GHOST das bisher geschäftigste,
ehrgeizigste und schlichtweg größte Jahr werden. Mit der Enthüllung von SKELETÁ, dem kommenden
sechsten Album der GRAMMY-gekrönten schwedischen Theatralik-Rock-Ikonen, und der heimtückischmelodischen Leadsingle „Satanized“ hat GHOST gerade erst die nächste Phase ihres unausweichlichen
Weges zur Weltherrschaft eingeleitet. Mit Hunderttausenden von bereits verkauften Tickets für den ersten
Teil einer weltweiten Arena-Tournee, bei der die Band zum ersten Mal als Headliner im Madison Square
Garden auftritt, ist GHOST bereit, das introspektivste und nach innen gerichtete Material der Bandkarriere
zum Leben zu erwecken - und das in einem angemessen grandiosen Stil: Auf der Tournee zu SKELETÁ
wird der neu getaufte Papa V Perpetua sein Debüt geben, der einer phantasmagorischen neuen Produktion
vorsteht, die verspricht, die Live-Rituale zu übertreffen, die den Debütfilm der Band, RITE HERE RITE
NOW, zum umsatzstärksten Hardrock-Kinoereignis der nordamerikanischen Geschichte machten

Das 1984 erstmals veröffentlichte Album „Mamma“ ist eine Sammlung italienischer Volkslieder, arrangiert
und dirigiert vom amerikanischen Komponisten Henry Mancini, der selbst italienische Wurzeln hatte. In
seinen Anmerkungen zu der Platte erklärte Pavarotti: „Ich bin mit diesen Liedern aufgewachsen, wie viele
andere meiner Generation auch, und sie rufen den Klang meiner Kindheit wach“.
Das Album wird zum ersten Mal seit 1984 wieder auf Vinyl veröffentlicht, und zwar in einem neuen,
remasterten HD-Sound. Als Grundlage dienten die Premaster-Bänder aus den Decca-Archiven, was den
historischen Aufnahmen eine neue, faszinierende Dimension verleiht.
Version: 180g Vinyl

Nachdem man Hollywood-Star Jeff Goldblum in letzter Zeit im Kino-Erfolgsmusical ”Wicked“ und der
Netflix-Serie ”Kaos“ erleben durfte, meldet er sich jetzt mit seiner zweiten großen Passion als Jazzmusiker
und seinem dritten Album zurück! Für „Still Blooming“ hat er nicht nur wieder sein berühmt-berüchtigtes
Mildred Snitzer Orchestra zusammengetrommelt, sondern schaffte es auch, seine beiden „Wicked“-Kolleginnen
Ariana Grande und Cynthia Erivo sowie Hollywood-Superstar Scarlett Johansson für eine Mitwirkung begeistern.
Die drei Damen machen ihren Job als Sängerinnen wie erwartet fabelhaft, während Goldblum als cooler
Frontman, Pianist, Organist und einmal sogar Sänger die exquisite Mischung aus Songs aus der goldenen
Ära des Great American Songbook und groovenden Jazz-Instrumentals krönt.
Wie ein guter Hollywood-Film hat auch „Still Blooming“ nicht nur einen Star und diverse Co-Stars zu
bieten, sondern ist mit seinem augenzwinkernden, zeitlosen Charme auch die perfekte Verbindung aus
Gestern und Heute, Lebensfreude und Sentimentalität, Jazz und Pop.

BEATALISTICS, the soulful South-German Drum & Bass label, run by Enea and MC Fava, is celebrating its 100th release. ONEHUNDRED reflects on almost one and a half decades of label back catalogue with a 29 tunes strong 'best of' various artists digital compilation. Included are also 6 brand new tunes which are packed on a vinyl sampler In addition. Featured is orchestral DnB pioneer KEENO who puts his magic hands of 'Sarah', taken off FAVA's Destiny EP with Smote & Becca Jane Grey and rounds up the meaningful song with his cinematic trademark sound . FAVA also adds some decent chants to COMMAND STRANGE'S 'Kindness Flow, a positive and uplifting liquid roller that is going to make your soul smile for sure. Long time label friend PAUL SG, head honcho of the brilliant soul driven Austrian imprint Jazzsticks delivers one of his signature amen break soul-rollers with 'Pale White Boy'. Label boss ENEA can't be missed on here and literally delivers the 'Heat' with his contribution. Beatalistics sticks to the label philosophy and supports local talents and important label representatives DAVA and MOJOMAN.'Pictures' delivers dancefloor vibes with a deep bassline and strong vocal arrangement and proves that Dava is one to watch out for in the near future. MOJOMAN maintains a desire to dance with the hypnotizing 'Pillers of Nah', following his unmistakably melodic and hymnal style.

A1 - Tidal Realm

Opening with the kind of finely-honed, sumptuous ambience we know and love Aural Imbalance for, Tidal Realm slowly reveals its welcoming arc with filtered breakbeats and a captivating off-beat string melody before analogue amen breaks are expertly chopped and sliced at will for our listening pleasure. Further melodic charm is added as the soothing ambient backdrops rise like a calming mist, blanketing the scene in style.

A2 - Tears Of An Angel

Subdued breaks sleepily laze during the intro to Tears Of An Angel, gently roused to movement by a sombre backdrop of delicate pads and high pitched ambient textures. Once in full swing, the old-school breakbeats nestle perfectly over a deep, earthy 808 bassline while the atmosphere develops continually through a melodic, ethereal landscape crafted with a trademark understated panache.

B1 - Surface Area

Readying for the unexpected, a suitably eerie ambient intro to Surface Area sees Aural Imbalance flex his versatility once more as a stunningly crafted break pattern suddenly takes center stage and immediately whisks the listener on a journey to lands afar. Micro melodies and inimitable pads add depth but make no mistake - these breaks are sublime, and will inspire both the listener and the dancefloor in equal measure.

B2 - Warm Embrace

Closing out the EP we have Warm Embrace, which opens with the sounds of playful fireflies in the twilight, emitting their soft glow through the washes of inexplicably radiant FX. Old school breaks soon enter the mix, constructed with aplomb over a bed of deep, classic 808 bass perfect for the occasion. The breakdown introduces a deliciously delicate melody, adding further depth to the track perfectly before the breaks and nightlife resume their frolics.

Words by Chris Hayes (Spatial / Red Mist)

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

Following the launch of his solo career in 1988, “Moz” would spend the next 10 years composing and releasing six studio albums and a string of hit singles before going on a brief recording hiatus. On November 6, 2001, THE BEST OF MORRISSEY, a collection that brought together his most memorable work as a solo artist up to that point which was originally released on CD in North America only. In celebration of Morrissey’s career, we will revisit that classic compilation this year by releasing it, for the first time ever, on vinyl. THE BEST OF MORRISSEY will be available on 30th August as a black double-LP.



All the other studio albums the singer released between 1988 and 1997 are represented on THE BEST OF MORRISSEY with “Sing Your Life” from Kill Uncle (1991), “Do Your Best And Don’t Worry” from Southpaw Grammar (1995) and “Alma Matters” from Maladjusted (1997). Other tracks on the collection include the non-album single “Sunny” and the B-sides “Sister I’m A Poet” and “Lost.”

The second release from Mirror Vinyl Series is out with four producers from four different South American countries, four dancefloor useful tools. Sudaritmo EP moves beetween electro, U.K. tech house, breaks and deep house, this new EP from Argentinian label brings a variety of tracks for every moment of the night.

The next episode of Coqueto Records returns to the VA format, once again showcasing techno and club music. Expect dancefloor-driven mental sounds with hints of electro, trance, and progressive. This release brings together three South American artists alongside French maestro TC-80, marking the label’s fifth installment.

Blank Code is a Detroit, USA techno outfit that have released music by artists like Bas Mooy, Mike Parker, Brian Sanhaji, DJ Hyperactive, Drumcell, and many more.

The newest Blank Code release is Decoder with his 'Distant Beings' EP, a fellow American from Dallas who has gained many devoted supporters from having releases on Jeff Mills' Axis Records, Amotik Records, TWR72's Float, Edit Select Records, Molecular Recordings, and Science Cult, amongst others.

Beginning with "Missing Sector," a dystopian and airy soundscape of captivating rattlesnake hisses and muted tones of melody and suspense amidst a stuttering kick pattern.

"Strange Interaction" follows with an abstract approach overall, but using a solid, rhythmic beat as a pulsing constant. Static crackles create mesmerising textures and light tom drums are met with wandering waves of analogue whispers and skipping hats.

"Farther" introduces deep and looping modular frequencies that dance around in a sci-fi aesthetic. This sublimely hypnotic track has an ethereal quality of patience and draws influence from dubby and atmospheric styling.

Finishing with "Elevation," it instantly has an experimental vibe that seems mysterious and menacing. Cyclical mid tones create a sonic suction before phasing pulses add even more tension to this esoteric adventure.

“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

Cherrie Coke Bottle Vinyl. Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

"Real Emo" only consists of the DC emotional hardcore scene and the late `90s Delaware Valley screamo scene.... Frail were at the epicenter of that vibrant straight edge youth gaggle, screaming their throats bloody in baggy pants. Discontent with the metallic hardcore format, the quintet pursued Gen-X's ferocious, noisy rage against everything at San Diego's galloping pace. No Industry includes vital singles for the Yuletide, Bloodlink, and Kidney Room labels, plus rare comp tracks from across their `93-95 run. Make Your Own Noise.

"Vicious Rumors are an American power metal band, originally formed in 1979 in the San Francisco Bay Area. The band was conceived by founder and guitarist/vocalist Geoff Thorpe, and has been actively recording and touring worldwide since their full-length recording debut in 1985. Their first Atlantic release was the self-titled Vicious Rumors in 1990. One of the finest moments in their lengthy career. At times sounding like hybrid of Bruce Dickinson and Geoff Tate on vocals with Judas Priest as a backing band. The band subsequently began their first full US tour—which lasted for over three months and shot their first official video, ""Don't Wait for Me"", directed by Gore Verbinski. This tour was quickly placed in rotation on MTV's Headbangers Ball. Die-hard fans will celebrate this reissue, and those who missed the boat the first time will be well-served in taking this for a spin.

Vicious Rumors is available as limited numbered edition of 1500 copies on translucent blue coloured vinyl and comes with an insert."

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Rhiannon Giddens reunites with her former Carolina Chocolate Drops bandmate Justin Robinson on What Did the Blackbird Say to the Crow, an album of North Carolina fiddle and banjo music. Produced by Giddens and Joseph "joebass" DeJarnette, the album features Giddens on banjo and Robinson on fiddle, with the duo playing eighteen of their favourite North Carolina tunes: a mix of instrumentals and tunes with words.

Many were learned from their late mentor, the legendary North Carolina Piedmont musician Joe Thompson; one is from another musical hero, the late Etta Baker, from whom they also learned by listening to recordings of her playing. Giddens and Robinson recorded the album outdoors and on location at Thompson’s and Baker’s North Carolina homes, as well as the former plantation Mill Prong House. They were accompanied by the sounds of nature, including two different broods of cicadas, which had not emerged simultaneously since 1803, creating a true once-in-a-lifetime soundscape. The duo, along with four other string musicians including the multi-instrumentalist Dirk Powell, will embark on the Rhiannon Giddens & The Old-Time Revue North America tour in April.

“With the assaults on reality going on in the world today, we wanted to offer another kind of record, like walking back onto a gravel or dirt road while a stampede goes the other way,” Giddens says. “With the cicada choir, this record could’ve only happened at a certain time in the last 120 years. We doubled down on place, time, realness, and old-fashioned front porch music. It’s a reminder that another way exists, with music made for your community’s enjoyment and for dancing–not solely for commercial purposes.

“What is the role of music in our society?” she wonders. “How do we de-couple it from unfettered capitalism, where music is a product and musicians are incidental? How do we use the tools and system that we have been bequeathed in a way that reminds us of other ways of being?” Robinson adds, "Recording this album felt like being back in the saddle. Just this time Joe is not here, and his fiddle is under my chin. The album is about home, the cicadas, the storms, the music, and the people who make it feel like home."

Thompson was one of the last musicians of his era and his community to carry on the southern Black string band tradition. He played a crucial role in the lives of Giddens and Robinson, who, along with their Carolina Chocolate Drops bandmate Dom Flemons, spent their formative years learning from Thompson in traditional apprentice/mentor relationships. His influence has guided all of their artistic journeys as well as their mission to keep the legacy of the Black string band tradition alive.

In further tribute to Giddens’ North Carolina roots, What Did the Blackbird Say to the Crow will arrive just a week before Biscuits & Banjos, the inaugural edition of her first festival, which highlights the deep roots and enduring legacy of Black music, art, and culture while fostering community and storytelling. The sold-out festival will feature a much-anticipated Carolina Chocolate Drops reunion, their first performance together in more than a decade.

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

Mash-up master AMERIGO GAZAWAY has compiled a collection of the most popular and sought after tracks in the SOULMATES catalog. Featuring choice cuts from very hard to find/out of print vinyl, fan favorites, and even a few former digital exclusives pressed to wax for the very first time.

Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984.

It was the band’s first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys and found the new incarnation of the band moving away from the Hardcore Punk

associations of the original lineup in favor of a traditional Rock and Gothic Rock sound.

Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer

Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer.

Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

Nach fünfundzwanzig Jahren Musikkarriere mit fünf Grammy-Nominierungen, zwei RIAA-zertifizierten Goldenen Schallplatten und der jüngsten Veröffentlichung von 'Desolation: A Heavy Metal Memoir', einer ehrlichen Reflexion über sein Leben in der Musik und darüber hinaus, befindet sich Mark Mortons kreative Energie auf einem Allzeithoch.

'Without The Pain', sein zweites Soloalbum, ist eine Hommage an seine langjährige Liebe zum Südstaaten-Rock und wurde von seinem langjährigen Weggefährten Josh Wilbur produziert. Auf dem Album als Features vertreten sind einige der größten Namen aus Americana, Rock und Country:

Der Outlaw-Country-Star Cody Jinks liefert zwei kraftvolle Songs, darunter das eindringliche 'Brother'; Blackberry Smoke-Frontmann Charlie Starr tut sich bei 'Come December' mit Americana-Superstar Jason Isbell zusammen, während Jaren Johnston (The Cadillac Three) beim Eröffnungstrack 'Hell & Back' eine Performance voller Hingabe liefert.

Der Country-Hitmacher Travis Denning - ein aus Georgia stammender Künstler mit einer früheren Nummer 1 in den US-Country-Airplay-Charts - arbeitet an zwei bewegenden Stücken mit, die beide subtile und zarte Gitarrentexturen aufweisen und eine andere Dimension von Mortons Songwriting zeigen.

Troy Sanders (Mastodon) singt bei 'Nocturnal Sun', einer donnernden Doom-Klage und dem schwersten Stück des Albums, während Blues-Gitarren-Phänomen Tyler Bryant sich mit Morton bei dem psychedelischen Blues-Rummel 'Forever In The Light' ein Gitarrenduell mit Feuerwerk liefert.

Für Fans von: Lamb of God, The Cadillac Three, Whiskey Myers, Travis Denning, Clutch, Brothers Osbourne, Blackberry Smoke, Black Stone Cherry, Lynyrd Skynyrd

- Ltd. Col. LP: (Orange Vinyl)

The work of each of these powerfully creative & exceptionally perceptive individuals - poet and scholar Fred Moten and jazz bassist Brandon Lopez - concerns itself with how one might navigate the ascending reign of longinstitutionalised madness while simultaneously keeping humanity and sanity intact The synergistic mesh of these two voices in Duo is here presented on record for the frst time, following two acclaimed works on the Reading Group label in trio with Gerald Cleaver. Inimitable poet, cultural theorist, author, 2020 MacArthur Fellow, Fred Moten creates new conceptual spaces that accommodate emergent forms of Black cultural production, aesthetics, and social life. Moten is a professor of performance studies and comparative literature at New York University concerned with social movement, aesthetic experiment, and Black study. He is also a United States Artists Rockefeller Fellow and was elected to the American Academy of Arts and Sciences. Puerto Rican- American bassist Brandon Lopez is the son of a gravedigger who himself put time in doing the same, developing muscles that serve him well in his thorough command of the upright bass. On moving to NYC, Lopez made himself indispensable within numerous realms of creative music. As the Cleveland Review of Books noted, "This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into."

On their previous work in trio with Gerald Cleaver:

"Best Jazz Albums of 2022: Moten is after nothing less than a full interrogation of the ways Black systems of knowledge have been strip-mined and cast aside, and yet have regrown." - New York Times

"8.0 - A conceptually rich, politically weighty album that asks timeless questions without over-explaining...breathlessly complex" - Pitchfork

Fred Moten: texts, voice
Brandon Lopez: bass

Kills Birds gehen mit einer Intensität an ihre Songs heran, die so greifbar ist wie keine andere junge amerikanische Rockband. Angeführt von Nina Ljeti, einer bosnisch-kanadischen Filmemacherin, die die Los Angeles Times als "L.A.s elektrisierendste neue Rocksängerin" bezeichnete, gehören zur Band noch Jacob Loeb (git), Fielder Thomas (bass) und Griffin Kisner (drums). Kills Birds' Gigs sind emotional und kathartisch. Fing das Debütalbum "Kills Birds" (2019) noch das Versprechen ihres Grunge-inspirierten Sounds und Ljetis unerschrockener Texte ein, trieb der Nachfolger "Married" (2021) ihre musikalische Chemie auf neue Höhen. Ihre unerbittlichen Songs führen zu elektrisierenden Liveshows, die ihnen jede Menge Lob einbringen. Kim Gordon nennt sie "hot as fuck".

Kribbelnde Spannung im wahrsten Sinne des Wortes verheißt dieser Fall - die drei ??? juckt das nicht. Gilt es doch der attraktiven Letitia Radford beizustehen, die zwar im Luxus lebt, sich aber von allerlei Krabbelndem und obendrein einer lebendig gewordenen Vogelscheuche bedroht sieht! Der mutige Entschluss, es mit Ameisen und Schlimmerem aufzunehmen, bringt die drei ??? mit sonderbaren Zeitgenossen in Berührung ...

Gatefold 2LP

Far Out Recordings proudly presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers.

Combining North and South American jazz traditions with Machado's revolutionary samba innovations, Edison Machado & Boa Nova represents a triumph against the odds. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius - sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day.

At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything - when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto.

A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon.

After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três - the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz.

At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It’s packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass).

The album features unheard compositions by Brazilian masters Dom Salvador (Salvador Trio, Harry Belafonte, Edu Lobo), Guilherme Vergueiro (Raul De Souza, Leon Ware, Joyce), Aloisio Aguiar (Arthur Verocai, Airto) amidst the plethora of captivating original material by the members of the Boa Nova ensemble.

Mit der Verve Acoustic Sounds Serie bietet Verve Vinyl-Fans in Zusammenarbeit mit dem bekannten
amerikanischen Acoustic-Sounds-Label seine erste audiophile LP-Serie. Die Fertigung erfolgt mit rein
analogen Produktionsschritten vom Erste-Generation-Masterband bis zur 180g-Pressung bei Quality Record
Pressings in den USA. Den luxuriösen Rahmen bieten laminierte Tip-On-Gatefold-Sleeves und wattierte Innenhüllen.
Multiinstrumentalist Roland Kirk, der 1977 mit nur 42 Jahren starb, war ganz sicher eines der skurrilsten Originale des Jazz. Dass er auch ein außergewöhnliches Händchen für betont groovige Musik hatte,
bewies er 1967 erstmals auf dem Verve-Album ”Now Please Don’t You Cry, Beautiful Edith”.

2008 release from the Swiss Folk/Pagan Metal band. Eluveitie belong to the ever-growing Pagan Metal scene which has been producing such bands as Finn troll, Ensiferum, and Turisas. Eluveitie have become one of today's most exciting acts and leaders of this new movement They have become a phenomenon in North America and their sales are definitely on the rise.

This collaboration captures Holiday's emotive vocals alongside Getz's tenor saxophone, offering a unique blend of their styles. The performances are noted for their intimate club atmosphere, providing listeners with a glimpse into the live jazz scene of the early 1950s. A legendary recordings when one of the most important jazz saxophonists meet one of the greatest American blues and jazz singers.

The first re-pressing of the Dead Milkmen's classic "Bucky Fellini" since its original release on Enigma Records in 1987. This album is a fan favorite and contains the Billboard charting "Instant Club Hit (You'll Dance to Anything)". Remastered by Phil Nicolo for contemporary vinyl, pressed in DUCKY YELLOW VINYL. The newly designed gatefold includes the original front and back covers on a beautifully produced tip-on jacket. The interior is filled with news clippings, previously unseen photographs, show posters, and QR Code WAV and MP3 downloads--all collaged together by the one and only Dean Clean. Also included, for the first time, is an inner-sleeve with lyrics and all new song-inspired art from Joe Jack Talcum. Additional bonus materials include a reproduction of a beat up, original Bucky Fellini poster and a link to download the elusive "Boner Beat" remixes. Hear what The Toronto Star deemed "a sarcastic masterpiece that takes the mickey out of a dozen cherished American icons" like never before. The Dead Milkmen aren't as stupid as they'd like to be ... Now they sound as if they might know how to play their guitars, and they produce some on-target commentary such as 'Instant Club Hit (You'll Dance to Anything)'. - eople Magazine As with all Giving Groove releases all label profits are directly donated to a 501(c)3 music-related charity-the recipient being the wonderful Philadelphia based organization Rock to the Future.

HONKYTONK HOLLYWOOD ist Jon Pardis fünftes Studio Album, das moderne Country-Musik mit traditionellen Honkytonk-Elementen verbindet. Das Album verspricht eine Mischung aus Southern Rock,
klassichen Honkytonk und modernen Einflüssen, die Pardi als authentischen Künstler mit einer Vorliebe für
traditionelle Country-Sounds unterstreichen.
Jon Pardi ist ein US-amerikanischer Country-Sänger und Songwriter. Bekannt wurde er mit Hits wie ”Dirt
on My Boots”, ”Heartache Medication” und ”Head Over Boots”. Er hat mehrere Platin Auszeichnungen
erhalten und gehört zu den führenden Künstlern der heutigen Country-Szene.

Hätte der früh verstorbene Saxofonist Tubby Hayes in den sechziger Jahren nicht vor allen Dingen in
Großbritannien gewirkt, wo er in Jazzkreisen heute als Idol gilt, wäre sein Name ganz sicher weltweit
bekannt. Der Brite entlockte seinem Saxofon mitreißenden Modern Jazz und elegante Balladen und war
immer auf Augenhöhe mit seinen amerikanischen Jazzkollegen.
Nachdem Decca Records vor fünf Jahren eine Decca-CD-Komplettbox des Künstlers veröffentlichte, folgt
jetzt mit der LP “Splonge! An Introduction To Tubby Hayes“ eine von Filmemacher und Autor Mark Baxter
zusammengestellte Compilation der besten, groovigsten und wichtigsten Tubby-Hayes-Tracks.
Auf der bedruckten Innenhülle der 140g-LP finden sich Linernotes, Coverabbildungen und diskografische
Angaben zu allen Tracks.

Chris Goss is one of the elusive geniuses of American music As the singer, guitarist and driving force behind Masters Of Reality, he's spent more than 40 years charting his own musical journey, travelling from mystical blues to desert rock to psychedelia-edged beauty via all points in between.

Now Goss has returned under the Masters Of Reality banner with The Archer, their frst new album in 16 years.

Since the start of the 21st century, Goss has balanced his work as a producer with his Masters Of Reality output. There have been three more studio albums under the Masters Of Reality name: 2001's Deep In The Hole, 2004's Give Us Barabbas and 2009's Pine/ Cross Dover. Each was a self- contained musical universe, reafrming Masters Of Reality as a band outside of the mainstream music industry.

Now, 15 years after his last release under the name, Chris Goss has fnally returned with Masters Of Reality. Like everything they've released since their inception over 40 years ago, it's another step on a journey that has continuously moved forward, never repeating itself or being swayed by external infuences.

First Masters Of Reality album in 16 years
Chris Goss is considered "The Godfather Of Desert Rock" having produced records for Kyuss and Queens Of The Stone Age among many others. Extensive touring in 2025