Buscar:an 2

Mit seinem siebten Studioalbum kehrt der Musiker und Singer-Songwriter Juan Wauters mit einem Liebesbrief an seine Geburts- und Heimatstadt Montevideo, Uruguay, zurück. "MVD LUV" erscheint am 27. Juni 2025 über Captured Tracks. Mehr als ein Jahrzehnt nach Beginn seiner Solokarriere hat Wauters seine musikalische Identität zu einem charismatischen und charmanten, authentischen und fesselnden Drahtseilakt geformt, der auf dem schmalen Grat zwischen Aufrichtigkeit und Performativität balanciert. Auf seinem neuen Album kommen seine Fähigkeiten als Songwriter voll zur Geltung. Die meisten Songs auf "MVD LUV" sind weniger als zwei Minuten lang und strotzen nur so vor Lebensfreude, aber das Album als Ganzes zeigt Wauters von seiner liebenswertesten Seite, denn er schreibt mit Zuneigung und Mitgefühl über die uruguayische Stadt, die er liebt und sein Zuhause nennt. Die klare Absicht, mit der Wauters Montevideo und seinen Charakter illustriert, zeichnet das Porträt eines Künstlers, der sich seinem Handwerk und seinem Thema mit großer Hingabe widmet. So gesehen ist "MVD LUV" mehr als nur ein Album - es ist eine Heimkehr. Dabei hat er sich die reichen musikalischen Traditionen von Montevideo zu eigen gemacht und gleichzeitig die Grenzen seines unverwechselbaren Songwritings weiter verschoben. "MVD LUV" ist eine Liebeserklärung an seine Wurzeln und seine Gegenwart und bringt uruguayische Klänge auf die Weltbühne, indem es Candombe- und Murga-Rhythmen in Wauters' charakteristische Mischung aus Folk, Pop und Experimenten einbezieht. Da Wauters einen Großteil seiner Karriere in den Vereinigten Staaten verbracht hat, trägt er seit langem die doppelte Identität eines Einwanderers und eines Einheimischen. Mit "MVD LUV" wollte er eine Brücke zwischen diesen beiden Welten schlagen und die Essenz der Straßen, Häuser und des Gemeinschaftsgeistes von Montevideo einfangen. Das Album wurde an verschiedenen Orten in der Stadt aufgenommen, von seinem eigenen Studio bis hin zu Bürgersteigen, Dächern und den Wohnungen der beteiligten Musiker. Dieser Ansatz verleiht dem Projekt eine unverfälschte Authentizität und lässt Montevideo selbst wie eine aktive Präsenz in der Musik erscheinen. Thematisch beschäftigt sich "MVD LUV" mit Identität, Nostalgie und menschlichen Beziehungen. Tracks wie "Manejando por Pando" und "Siempre Vuelven" reflektieren über die Rückkehr nach Hause und den Lauf der Zeit, während "If It's Not Luv" und "Dime Amiga" sich mit Liebe, Kameradschaft und persönlicher Reflexion beschäftigen. "Ando con Miedo" fängt urbane Ängste ein und stellt Introspektion den pulsierenden Rhythmen der Stadt gegenüber. Wauters schafft damit eine zutiefst persönliche und doch universelle Meditation über Zugehörigkeit. Mit "MVD LUV" präsentiert Juan Wauters eine lebendige, tief empfundene Erkundung von Ort und Identität und schafft ein Album, das sich sowohl tief verwurzelt als auch universell anfühlt. Dieses Album führt den Hörer nicht nur in Montevideo ein, sondern lädt ihn ein, sich dort zu Hause zu fühlen.

"Different Talking", das sechste und bisher beste Album der vierköpfigen New Yorker Indie-Rock-Band Frankie Cosmos, scheint über Zeit und Raum hinweg zu existieren, so wie wir alle es irgendwie tun. Es ist eine Sammlung von Fragmenten und Erinnerungen, erinnerten Orten und neu interpretierten Gefühlen, die sich zu einem leuchtenden, summenden Ganzen zusammenfügen: eine robuste, weltgewandte Indie-Rock-Platte über das Altern und den Lauf der Zeit, die es dennoch schafft, sich hochaktuell zu fühlen. Die Sängerin, Gitarristin und Songschreiberin von Frankie Cosmos, Greta Kline, gilt seit langem als eine der gewandtesten und notwendigsten Autorinnen zeitgenössischer Indie-Musik, doch auf "Different Talking" werden ihre Texte etwas weicher, und der schräge Zynismus, der die letzten Alben prägte, weicht nun einer Anerkennung der großartigen und notwendigen Fehlbarkeit des menschlichen Gehirns und Herzens. "Different Talking" als Rückkehr zur alten Form oder zumindest zur üppigen Direktheit früherer Frankie Cosmos-Platten zu bezeichnen, wäre unhöflich, aber auch völlig falsch: Wie "Different Talking" deutlich macht, kann man nie mehr zu der Bequemlichkeit und dem Mut seiner frühen Zwanziger zurückkehren, aber diese Person lebt irgendwie immer in einem, egal wie sehr man sich verändert. Bei Different Talking geht es darum, diese Person zu finden, sie zu ehren und von ihr zu lernen. "Ein großer Teil des Albums handelt davon, erwachsen zu werden und herauszufinden, wie man sich selbst erkennt - wie zum Beispiel: 'Was ist ein Weitermachen?'", sagt Kline. "Wie kommen wir weiter, wenn wir süchtig nach einem Kreislauf sind, der uns in unserer Vergangenheit verfolgt? Das Schreiben von Songs ist nur ein Weg, um das zu überwinden". Kline ist seit ihren späten Teenagerjahren ein fester Bestandteil des amerikanischen Indie-Undergrounds. Ihre zahlreichen Bandcamp-Veröffentlichungen und ihr Debüt bei dem Indie-Label Zentropy aus dem Jahr 2014 führten dazu, dass sie als "Poet laureate of New York City DIY" bezeichnet wurde. Ein solches Etikett ist eine Menge für junge Schultern, aber es ist schwer zu leugnen, dass sie einen einzigartigen Einfluss auf die zeitgenössische Popmusik hatte. Wenn die Vorstellung, dass eine junge Frau in ihrem Schlafzimmer einen Synthesizer in die Hand nimmt, ein paar Songs ins Internet stellt und schnell zum Superstar wird, heute gang und gäbe ist, dann liegt das daran, dass Kline und ihre Kolleginnen das (weibliche) DIY-Genie normalisiert und verherrlicht haben, lange bevor sie in den Marketingbüros der Major-Labels an die Pinnwände geheftet wurden. Seitdem hat sich viel verändert: Nachdem Frankie Cosmos in den letzten zehn Jahren eine Handvoll verschiedener Permutationen durchlaufen hat, besteht die Band heute aus vier Mitgliedern: Greta Kline, Alex Bailey, Katie Von Schleicher und Hugo Stanley. Kline ist die einzige Konstante, aber Stanley, Bailey und Von Schleicher sind wichtige Mitstreiter, und es wäre falsch, die Namen "Greta Kline" und "Frankie Cosmos" synonym zu verwenden. Kline ist nach wie vor die primäre Songschreiberin, und die Musik auf "Different Talking" wurde von der Band als Ganzes arrangiert, aber dies ist das erste Album, das von der Band selbst aufgenommen und selbst produziert wurde. Nicht zufällig fühlt es sich wie eine reinere, destilliertere Aufnahme an. "Es fühlt sich an wie die beste Version von dem, was ich machen wollte, seit ich ein Teenager war", sagt Kline. "Obwohl dies in einem Wohnzimmer aufgenommen wurde, ist es so originalgetreu wie alles, was wir im Studio gemacht haben."

"Different Talking", das sechste und bisher beste Album der vierköpfigen New Yorker Indie-Rock-Band Frankie Cosmos, scheint über Zeit und Raum hinweg zu existieren, so wie wir alle es irgendwie tun. Es ist eine Sammlung von Fragmenten und Erinnerungen, erinnerten Orten und neu interpretierten Gefühlen, die sich zu einem leuchtenden, summenden Ganzen zusammenfügen: eine robuste, weltgewandte Indie-Rock-Platte über das Altern und den Lauf der Zeit, die es dennoch schafft, sich hochaktuell zu fühlen. Die Sängerin, Gitarristin und Songschreiberin von Frankie Cosmos, Greta Kline, gilt seit langem als eine der gewandtesten und notwendigsten Autorinnen zeitgenössischer Indie-Musik, doch auf "Different Talking" werden ihre Texte etwas weicher, und der schräge Zynismus, der die letzten Alben prägte, weicht nun einer Anerkennung der großartigen und notwendigen Fehlbarkeit des menschlichen Gehirns und Herzens. "Different Talking" als Rückkehr zur alten Form oder zumindest zur üppigen Direktheit früherer Frankie Cosmos-Platten zu bezeichnen, wäre unhöflich, aber auch völlig falsch: Wie "Different Talking" deutlich macht, kann man nie mehr zu der Bequemlichkeit und dem Mut seiner frühen Zwanziger zurückkehren, aber diese Person lebt irgendwie immer in einem, egal wie sehr man sich verändert. Bei Different Talking geht es darum, diese Person zu finden, sie zu ehren und von ihr zu lernen. "Ein großer Teil des Albums handelt davon, erwachsen zu werden und herauszufinden, wie man sich selbst erkennt - wie zum Beispiel: 'Was ist ein Weitermachen?'", sagt Kline. "Wie kommen wir weiter, wenn wir süchtig nach einem Kreislauf sind, der uns in unserer Vergangenheit verfolgt? Das Schreiben von Songs ist nur ein Weg, um das zu überwinden". Kline ist seit ihren späten Teenagerjahren ein fester Bestandteil des amerikanischen Indie-Undergrounds. Ihre zahlreichen Bandcamp-Veröffentlichungen und ihr Debüt bei dem Indie-Label Zentropy aus dem Jahr 2014 führten dazu, dass sie als "Poet laureate of New York City DIY" bezeichnet wurde. Ein solches Etikett ist eine Menge für junge Schultern, aber es ist schwer zu leugnen, dass sie einen einzigartigen Einfluss auf die zeitgenössische Popmusik hatte. Wenn die Vorstellung, dass eine junge Frau in ihrem Schlafzimmer einen Synthesizer in die Hand nimmt, ein paar Songs ins Internet stellt und schnell zum Superstar wird, heute gang und gäbe ist, dann liegt das daran, dass Kline und ihre Kolleginnen das (weibliche) DIY-Genie normalisiert und verherrlicht haben, lange bevor sie in den Marketingbüros der Major-Labels an die Pinnwände geheftet wurden. Seitdem hat sich viel verändert: Nachdem Frankie Cosmos in den letzten zehn Jahren eine Handvoll verschiedener Permutationen durchlaufen hat, besteht die Band heute aus vier Mitgliedern: Greta Kline, Alex Bailey, Katie Von Schleicher und Hugo Stanley. Kline ist die einzige Konstante, aber Stanley, Bailey und Von Schleicher sind wichtige Mitstreiter, und es wäre falsch, die Namen "Greta Kline" und "Frankie Cosmos" synonym zu verwenden. Kline ist nach wie vor die primäre Songschreiberin, und die Musik auf "Different Talking" wurde von der Band als Ganzes arrangiert, aber dies ist das erste Album, das von der Band selbst aufgenommen und selbst produziert wurde. Nicht zufällig fühlt es sich wie eine reinere, destilliertere Aufnahme an. "Es fühlt sich an wie die beste Version von dem, was ich machen wollte, seit ich ein Teenager war", sagt Kline. "Obwohl dies in einem Wohnzimmer aufgenommen wurde, ist es so originalgetreu wie alles, was wir im Studio gemacht haben."

Nuke Watch stretch out and zone in on “Wait For It…”, two side-long jaunts that run their freeform M.O. to their own illogical ends. Following on from recent excursions on The Trilogy Tapes and Impatience, they revel in the long format for Patience, crafting a steady assault of haywire rhythms and swampy, off-world ambience.

On the A-side’s Supersonic Percussion Anagram, a battery of electronic and sampled drums - from window-shaking subs to melodic subcontinent percussion - shift from one bar to the next, a continuously morphing, snake-charming ruckus confirming their status as Bushwhick’s finest rhythm purveyors.

For the B-side Nuke Watch mind-meld with fellow NYC phreq Bryce Hackford for Think Peace, a disorienting lurch through the knotty depths of free associative modular synthesis, unraveling spools of intrigue that goes deep into the unknowable.

Nuke Watch is Aaron Anderson and Chris Hontos.. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend, Impatience and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

“Wait For It…” was written and produced by Aaron Anderson and Chris Hontos. Electronic drum pads on Supersonic Percussion Anagram by William Statler. Additional instrumentation on Think Peace by Bryce Hackford. It was mixed by Chris Hontos and Justin Randel, and mastered by Justin Randel. Art and design by Luca Schenardi..

RIYL - tabla, meandering, beat tapes, swamp jazz.

The 2018 live performance captured on Carlos Niño & Miguel Atwood-Ferguson’s Chicago Waves marked another beautiful turning point for International Anthem. The set was recorded at our then HQ, Co-Prosperity, the day after Niño and Ferguson performed as part of Makaya McCraven’s Universal Beings ensemble to celebrate the release of his album by the same name and recreate their contributions to the music on the record’s “LA Side”.

The release of the recording as the Chicago Waves album at the height of the COVID-19 Pandemic drove home the unmistakable sound of togetherness audible in its grooves in a way that only a society trapped in their houses for a year can truly understand. But as that year fades further into the rearview mirror, Chicago Waves still maintains its power. It’s not a mystery—this is what togetherness sounds like.
The IA11 Edition LP features our IARC 2025 obi strip, plus a new 16-page 11x11" insert booklet with additional photos and extensive new liner notes by IARC co-founder Scott McNiece.

The third Edita vinyl contains 2 tracks previously released digitally, Rebolledo's version of Holiday Rap and Sascha Funke’s version of Pump up the Volume + 2 vinyl only tracks which are a real stone by Marcello Giordani aka Italodeviance who gets his hands on Aventure Prodigieuse, a rare Funk Synth Pop diamond and a fresh and engaging unreleased dub version from Perel of the Britney classic "Toxic".

Andy Jenkins neues Album Since Always entstand aus dem Loslassen von Selbstwahrnehmungen, Erwartungen und Annahmen. Jenkins fand Raum in sich selbst als Gitarrist seinen eigenen Songs zu vertrauen, und Produzent Nick Sanborn schlüpfte in eine neue Art von Produktionsrolle, indem er Ideen entwarf und filterte sie gemeinsam durch. Kurzum, es war ein sehr erwachsenes Vorgehen, zwei Fans, die zusammenarbeiten, um etwas zu schaffen; eine Platte, auf der der Verlust und die Liebe, der Kompromiss und der Gewinn des Erwachsenseins sichtbar werden. Beide waren in ihren jeweiligen, aber miteinander verflochtenen Musikszenen in Richmond und Durham, schon seit Jahren Fans voneinander, hatten aber nie offiziell zusammengearbeitet. Jenkins hatte ein paar Jahre damit verbracht, Songs für den Nachfolger seines 2018 erschienenen Debüts "Sweet Bunch" zu sammeln; die neuen Songs waren kunstvoll gestaltete Oden an die verschiedenen Zusicherungen und Ängste, die damit einhergehen können, ein gewisses Maß an Zufriedenheit zu finden, wenn man auf die 30 zugeht. Als Jenkins seine Stücke einspielte, hörte Sanborn zu und ließ seiner seiner Fantasie freien Lauf und überflutete Jenkins mit Ideen - Rhythmusverschiebungen, Keyboard-Verzierungen, Gesangseffekten. Es gab ein Doppel-Takt-Piano, einen Fehler in ,Too Late", den sie beide liebten. Da war die Vocoder-Auswahl während ,Emptiness Is", eine Wahl, die es dem Paar ermöglichte einen großen Teil des Songs allein mit Bass und Schlagzeug zu bestreiten. Da war die Sequenz, die unter ,Leaving Before" brodelt, ein Spiegel des lyrischen nervösen Herzens. Als Amelia Meath und Jenn Wasner von Flock of Dimes im Studio herumhingen im Studio herumhingen, fragte Sanborn, ob sie bei ein paar Stücken singen wollten. Das ist Meath bei ,Blue Mind", die Jenkins' Zeilen über den Zauber der Liebe singt, als würde sie eine Beschwörung anbieten, und Wasner erhebt sich durch die statische Morgendämmerung von ,Lovesick". ,Andy wollte jemanden, der Entscheidungen trifft, die er nie treffen würde", erinnert sich Sanborn. ,Es war diese Minenarbeit, die wir zusammen machen mussten." Als die Songs jedoch immer mehr zusammenwuchsen, bestand Jenkins darauf, dass es endlich an der Zeit war, seine Gitarren abzulegen. ,Ich war noch nie ein besonders kompetenter Gitarrist", sagt er jetzt mit einem kleinen Lachen, aber Sanborn liebte die eigenwillige Art und Weise, wie sich seine Gitarrenschläge mit seiner Stimme verbanden, also hielt er sie hin. Sie würden auf Jenkins' langjährigen Mitarbeiter, ein Ass namens Alan Parker, warten, der aus Richmond kommen und die Teile ersetzen sollte. Als Parker kam, hörte er dasselbe wie Sanborn - ja, er war technisch versierter, aber seine Overdubs hatten nicht dieselbe Persönlichkeit, nicht die gleiche erzählerische Wahrheit. Jenkins lenkte ein, und so blieben seine Gitarren und verankern das Album.

Percussionist Tim Barnes has played with Jim O"Rourke, Wilco, Sonic Youth, Stereolab, Silver Jews, Tony Conrad, John Zorn, Faust, Tower Recordings, Alan Licht and many others in improvised & experimental music. Diagnosed with early onset Alzheimer"s in 2021, Tim"s new collabs with Ken (Bundy) Brown (Tortoise, Pullman) feature Joshua Abrams, David Grubbs, Oren Ambarchi, David Daniell, Darin Gray, Glenn Kotche, Tara Jane O"Neil, Jim O"Rourke, Ken Vandermark and Tim"s stalwart rhythmic zeal.

All Men Unto Me is a project led by Rylan Gleave, composer and vocalist (most notably in Ashenspire and various Paraorchestra projects). Today, All Men Unto Me announces their second album Requiem, an album which re-imagines an ancient mourning in a real, contemporary setting. Taking the broad emotional arcs of the Missa pro Defunctis, these structures pave way for new songs, ruminating on patriarchal power systems and the conditions of transmasculinity within these, through the haze of Queer reverence and forgiveness. In Rylan's words, the Missa pro Defunctis "translates to ‘Mass for the dead’, and refers to the Catholic text taken from the Roman Missal. When set to music, it is called a ‘Requiem’. Requiem masses are usually performed at funerals. I’ve sung in a few Requiems — Mozart, Fauré, Duruflé — when I’ve been in choirs, and felt those dramatic arcs of the structure in my own voice. Writing a Requiem felt like processing my own complex feelings about the Church, patriarchal power within it (and more broadly), and the death of a part of me in a framework that allowed for mourning. The contours of sorrow, light, forgiveness, and reverence made space for these songs to speak to my own identity as a survivor, and use that structure in a way that let me direct an ancient narrative myself." Marrying traditional Anglican soundworlds of electro-pneumatic church organ and stacked choral vocals with heavier sounds, closer to experimental/noise rock and doom metal, Requiem sits at times near Swans, Kayo Dot, Lingua Ignota, Greet Death, and Scott Walker.







[e] SEQUENTIA [video]

orchestrierte Neueinspielung einer der besten und rarsten NWOBHM Singles
-enthält auch die beiden Originaltracks von 1981 (restauriert, remastert)
-intensive Liner Notes mit Hintergründen zu diesem Release und dem 81er Original
-als CD und LP, separate Master!

Mit einem ganz besonderen Glanzstück meldet sich die wiedervereinte NWOBHM Band MARQUIS DE SADE zurück. Bereits das Comeback-Album „Chapter II“ (Golden Core/ZYX) wurde flächendeckend abgefeiert, zumal das teils epische Songmaterial nicht nur für Metalheads, sondern auch für Fans von Bands wie Magnum von Interesse ist. Daraus resultierte, neben vielen Gigs in ihrer Heimat England, auch ein Slot beim prestigeträchtigen Keep It True Festival, bei dem sie durchweg überzeugen konnten. „Somewehere Up In The Mountains“, Seite A der raren Single von 1981, hat sich in den letzten Jahren als NWOBHM-Hit entpuppt. Er wurde von Bands wie Roxxcalibur oder Dragon´s Kiss gecovert und wird in sozialen Medien ständig geteilt. Die epische Ausrichtung des 1981 noch sehr basisch, ja primitiv aufgenommenen Song, lieferte die Idee, eine orchestrierte Version davon aufzunehmen, quasi als Update und Alternative zum Original. Das Ergebnis ist erstaunlich und zeigt, wie „groß“ der Song tatsächlich ist. Auch die einstige B-Seite, „Black Angel“, wesentlich härter als „Somewhere…“, funktioniert in diesem Soundgewand. Hier spielen Band und Orchester zusammen und nicht, wie so oft bei solchen Projekten, nebeneinander. Eine neue Version kann und soll kein Original ersetzen. Daher findet man auf der extended EP auch die beiden Originalversionen der hyperraren Single von 1981. Diese wurden von Patrick Engel restauriert und remastert.

The In Sound Company returns to Delights with a new comic-themed double-sider.

Shay Landa and Markey Funk reunited with power duo Left for another studio jam and cooked two new cuts of groovy psychsploitation. The A-side "Spaceman Spiff" is a banging ode to the cult comic-within-a-comic intergalactic explorer, led by Rotem Bahar (Şatellites, Itamou) on flute. On the flip, the Company gets heavier and delivers a piece of raging fuzz-meets-synths crime funk - "Stunt Double".

With Bass Temprature, rediscover on one single CD the first three vinyl EPs by High Tone: Bot Dub Seasons, Low Tone, and Bass Temperature-a total of 12 tracks that propelled the Lyon-based group into the ranks of electro-dub heavyweights. In addition to these two reissues, four extra tracks have been added, making for a 12-track album just as compelling as it's predecessor. It marks a shift toward a more roots-oriented sound while remaining firmly grounded in the electro-dub genre. The album opens with Echo-Logik, a warrior-like chant followed by a driving bassline that makes you want to move-DJ Twelve's scratches laid over the groove offer a brilliant showcase of the band's talent. The title track, Bass Temprature, follows-perhaps the least striking piece, though that's only relative given the strength of the rest. Worth noting are the mystical vocal samples in Train to Transylvania, evoking vampires and devils, while N1 Station brings a heavy psych sound, a more energetic beat, and moments that border on hard-tek. Other influences also emerge, such as the strong Eastern vibe in The Orientalist. As always, High Tone delivers a stunning dub album sure to delight ears tired of the everyday noise pollution that surrounds us.

This Project is really a two in one offering. Combining the three tracks from Ringer’s 2021 release, the “Meta Music EP” and his darker more aggressive moniker, Black Sued’s offering the “Rogue EP”. The EP is sort of a yin and yang. Monotone is a deep chordal track with uplifting vocals and a pulsing almost distorted bassline. This track is complimented with minimal drums and a simple yet beautiful synth riffs that bring it all together. New Plan is a fast paced cut that insights the listener to move. The drums and chords wrestle in a rhythmic dance while Ringer’s voice projects the essence of this side of the 12”. Positivity and persistence, the energy is alive in this track. YIA, an acronym that stands for Yes I Am, is meditative and filled with affirmations for the listener. Deep solemn chords, and the sounds of a thunder storm take the listener into a inner place of self reflection. The affirmations are for the listener to embody, a solid thought provoking end to this side of the 12”.

Rogue, the title track of this side of the record, is an intelligent, dark and jazz filled groove, that takes the listener on a journey. The groove is easy to catch, and wraps the listener into an almost mysterious landscape of rhythm and melody. Keeping the tone of this side of the 12” is Maze. The chords and rhythm walk in tandem to a beat that almost favors a marching band. A higher energy feel arrives as the 16th high hats meet a long defining chord that take this track to the next level. Deep Dirt reminds me of a drum machine tweaking or malfunctioning. The ominous chords paired with the distorted synth and bass lines that carry the listener through the filth that is this track.

New R&B discoveries continue to emerge and entertain the many followers of the New Breed musical cult; nobody finds more than the Kent connoisseurs.
Berna Dean’s two previously unheard recordings are by far her best. They were laid down at Cosimo Matassa’s New Orleans’ studios by GNP Crescendo but eschewed in favour of two relatively average sides. The great 50s R&B songwriter Jesse Stone provides a rocker for the much-admired Jimmy Breedlove and a super-catchy ‘This Morning’ for an unknown mixed vocal group that has a joyous gospel feel. Jesse also penned ‘Private Eye’, a classic early 60s story-song, for Buddy Wilkins which was issued on Al Sears’ Tri-Ess imprint.
The title track is used twice, on two very different Fraternity recordings. Kenny Smith’s version was issued in 1964 and has many followers, but the equally meritorious Coasters-inspired composition by the Citations is newly discovered. Win Menifee’s ‘I’m Runnin’ Around’ from the same Cincinnati label comes complete with a fascinating back-story.
There are three cover versions. Vermettya Royster’s ‘All Around The World’ is backed by James Brown’s 1961 band, while Roosevelt Lee's 1970 update of the 1947-originated ‘Hey Little Girl’ funks the tune up a la Godfather of Soul. The cover that will make the biggest noise is undoubtedly west coast band the Afterglows’ version of Barbara Lynn’s evergreen dancer ‘I’m A Good Woman’ – this is a future monster.
Golden Crest provides two fabulous male vocal group sides – the swinging ‘What’s On Your Mind’ by Eddie Daye’s Four Bars and the delightful harmonies of the appropriately-named, but unknown Delights ‘Mary Don’t You Weep’.
Blues still thrived into the 70s as Albert Washington’s mean and moody ‘Case Of The Blues’ proves. Smokey Wilson took the music into the late 70s with the storming ‘Goin’ Away Baby (Round Like An Apple)’, which benefits here from a 45-style edit. His Pioneer Club on 88th Street in South Central L A provides the atmospheric photo for this collection.
More early 60s movers come from Wilbur “Hi-Fi” White with ‘Don’t Look Now’, future hit songwriter Johnny Madara’s raucous ‘You Make Me Mad’ and Big Boy Groves ‘Bucket O’ Blood’ which brilliantly describes the kind of club these tracks would fit right into.
The LP version loses a few tracks, but so many collectors have strong preferences we’ve thrown the vinyl junkies a lifeline.

This is one of the most obscure singles ever released in Venezuela in the 60s. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original 'El entierro de un hombre rico que murió de hambre', one of the finest garage tunes to emerge from Latin America that was also released as a 7" single. Their stunning take on The Doors' 'Hello, I Love You' takes the B side of this mega scarce 45. A garage DJs favorite! First time 45 reissue, audios remastered from the original master tapes.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

Following his 2019 debut on the label with Amphibious / Lucid Dreams, Bristol-based producer Drone returns to System Music for another exploration into the darker corners of sonic frequencies and low end pressure.

Entitled Flooded EP, this is Drone’s biggest project to date and features 4 original, epic tracks accompanied by an incredible remix from SP:MC. The EP kicks off with 20k, an introduction laden with off-kilter, haunting eeriness and pulsating bass and percussion. Next up is Entropy, a truly ethereal track. Spatially beautiful yet isolating and cold. The title track, Flooded, is a monster of a track which intimidates and excites with eyes down and gun fingers raised. Rounding off the body of work is Fear which hits hard with crisp drum patterns and a throbbing bassline, almost evoking a sense of nostalgia, tying it in seamlessly with a typically electrifying remix from SP:MC

Probably the finest work of Hector Rivera - Latin soul at it’s best. A non-stop
boogaloo party that never lets up with plenty of cha-cha and funky grooves.
• Two tracks taken from Hector Rivera’s debut album “At The Party with Hector Rivera”
originally released in 1966 on Barry Records.
• Remastered by Phil Kinrade and presented in a 7” Discobag sleeve.
• Part of the Demon Records Singles Club.

Civilistjävel! x Mayssa Jallad’s ‘Marjaa: The Battle of the Hotels (Versions)’ is a radical response to Mayssa Jallad’s 2023 original LP, a lyrical account of epochal events in Beirut at the dawn of Lebanon's civil war. ‘…(Versions)’ sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. Retaining ‘Marjaa…’s deep spatial framing and vaporous, shifting nature, traces are lifted and set down in a new landscape: a ghost of a ghost. Informed by Tomas' singular strand of ambient, minimalist, dub techno, ‘… (Versions)’ recalls the reductive, shimmering pulse of pioneering Berlin-based practitioners Basic Channel/Chain Reaction, but with the parameters stretched into the ether. Where versions typically focus on a rhythm, here the anchor is the tone and texture of Mayssa’s voice, around which a new world has been constructed. Disembodied and liminal, it conjures an eerie panorama that feels like a postscript to the original, further emphasizing the geopolitical events that have had such devastating effect in Mayssa’s homeland of Lebanon since that record’s release. ‘Marjaa…’ (tr. ‘reference’) combined Mayssa Jallad’s two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (‘Beirut’s Civil War Hotel District: Preserving the World’s First High-Rise Urban Battlefield’). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, ‘Marjaa…’ was an attempt to process trauma, and “a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence.” Often perceived as a mysterious, shadowy presence, Civilistjävel! has come increasingly to the fore in recent years through a consistently dazzling stream of records, released both anonymously and via Fergus Jones’ FELT imprint, often appearing with scant information and tracks for the most part untitled. Having featured tracks from ‘Marjaa…’ on mixes, and included the album in his picks of 2023, in early 2024 Tomas asked Mayssa to provide vocals for a track on his album ‘Brödföda’. Mayssa remembers, “Tomas asked me to choose one of the tracks he was working on. I was in Boston at the time, so I took a walk and chose a track. I wrote the lyrics at the public park, wondering if I was the only one around that was losing sleep over the genocide in Palestine and the war in South Lebanon. I went back to the apartment and recorded the vocals on my phone, while listening to the track on headphones. Tomas reworked it with the voice and sent it back. I liked it immediately.” Despite the geographical distance from Beirut to Uppsala, Sweden, where Tomas resides, Mayssa’s contribution sounds very much at home in Civilistjävel!’s atmospheric, contemplative sound-world. Tomas’ request was reciprocated by Mayssa soon after, resulting in the spectral, glassy ambience of ‘Etel, Kharita (Version)’. This was followed by an invitation to work on more tracks, which Tomas immediately embraced, intensively jamming out versions live to two-track tape in downtime between travelling. If not entirely dissimilar to his regular working practice, the immediacy of it was unusual. Much was improvised live with just a keyboard (not tethered to a grid), and a restricted set-up that largely forbade later edits - only the rhythm tracks are programmed. A sharp conceptual thinker and composer, Tomas takes creative liberties with Mayssa’s songs in a way that is deeply felt and sympathetically aligned, whilst unashamedly outside of the original context of the record. The voice is leaned into as an instrument, without the clear, specific details of language, and this axis provides an uncertain, amorphous footing - structure is often suggested or hinted at, before disappearing or collapsing into fog, and folding back into the message within the song. A somewhat unprecedented source for an album of versions, even those familiar with ‘Marjaa: The Battle of the Hotels’ may at points struggle to hear the songs these versions are rebuilt from, despite the vocal narratives remaining virtually intact. The light has shifted; eroded buildings are foregrounded; fragments of memories appear in chiaroscuro. Signs and signifiers have been replaced. Shorn of the original's warm guitar, ‘Baynana (Version)’ feels like an ominous visitation, the sun no longer visible. ‘Holiday Inn (March 21 to 29) (Version)’ is a molten, clattering invocation. The beat-less tracks nod towards the cold, otherworldly sound-scaping of late '90s isolationism. More propulsive and embodied, ‘Holiday Inn (January to March) (Version)’ and ‘Kharita (Dub)’ are strobing, iridescent techno - lithe, shifting and mutating with almost implausible finesse. A stunning addition to Civilistjävel!’s growing catalogue, ‘…(Versions)’ is a luminous counterpoint to ‘Marjaa…’, and a welcome reminder of how incredible that record remains.

The Advent a.k.a. Cisco Ferreira has a firm footing in quality techno DJs' bags - as well as in dance music history - and today we announce a special treat for the heads: Paraiso is releasing three never before heard tracks, rescued from a DAT lost sometime in the 90s. Titled 'Passado Distante' - you probably guessed it, it means Distant Past - we're talking about a trio of no-frills yet creative and highly energetic technoid ammunition. Classics that never were but now are given a new chance to grace our dancefloors. Opening this record, 'Driven' gifts our ears with syncopated claps and percussion while relentless rushes of hi hats and snares create a steady rhythmic core, creating a funky as hell piece that has the original spirit of techno inscribed in it. Things remain fast-paced and to the bone in the following track 'Circulate', a rolling bassline supporting snare rolls and a cheeky, minimalistic bleep reminiscent of sci-fi worlds. Dense yet concise, like techno bangers ought to. Closing this triad is the irresistibly rhythmic 'Tres Trax', a geeky but powerful closing act that shows Cisco's early wide-eyed aura, blending complex percussion and a bassline so soaked in swing it will have your hips drawing rave sigils as they naturally learn the groove. Dubby details add mystery to this incredibly imaginative Detroit-tinged wonky banger. Cisco did it again.

Over 25 years ago DJ Maaco and P Dog aka Detroit In Effect released the mean green "Only Time Can Stop A Dream" EP on their M.A.P. label. Tracks like "313 Frequency" and "Sike Yo Mind", just to name a couple, banged dance floors from Detroit to Europe! Now with new generations of music lovers almost three decades later catching on to sounds some would now consider vintage, we feel it's only right to pull out some throwbacks and make them available again! So here's to old and new, the reissue of Detroit In Effect - Only Time Can Stop A Dream.

Michi Sarmiento takes center stage on this explosive double-sider from PANORAMA Records, the third release in their 'DISCOS PANORAMA' series, created in collaboration with the legendary Discos Fuentes from Colombia. On the A side, 'Mirame San Miguel' by Michi Sarmiento Y Sus Bravos (1972) brings that irresistible Colombian groove, full of energy and horn-driven soul. Flip it over for 'Cumbia Raja' by Michi Sarmiento Y Su Combo Bravo (1970), a classic cumbia weapon that’s been igniting dancefloors for decades. The Combo Bravo, led by Blas 'Michi' Sarmiento, was a pioneering force in the rise of salsa and tropical sounds in Colombia during the late '60s and early '70s. This reissue delivers absolute Colombian dancefloor HEAT—killer Latin music, built for DJs, collectors, and anyone who loves it loud.

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

New club heat by Fabio Monesi on his own Wilson Records imprint. ''Fabio Monesi delivers what can be considered a true masterpiece or a quintessential House Anthem, demonstrating a profound grasp of the genre's foundational elements while seamlessly incorporating a fresh, nuanced approach to production. House Anthem stands as a polished work that honors house music's rich legacy while boldly pushing the boundaries of contemporary sound. Monesi showcases his remarkable talent for crafting a track that speaks to both the dedicated house enthusiast and the enthusiastic clubgoer, offering a timeless piece of music that transcends trends.''

(Limited, black vinyl) Another great selection of 2 Flying Stones classics on a high-quality 12" record, featuring a stylish glossy sleeve and a white inner sleeve.

Dolly TS welcomes Juri Heidemann! The versatile german producer is known for his modern stripped hypnotic grooves and unique rhythm textures. His Echo Mute EP strikes hard with a set of deep captivating, pumping, melodic, razor sharp techno!

Frankfurt electronica via Santo Domingo, Dominican Republic. Equally inspired by early Internet and the promise of technology, Boundary's "Terrain Scanner" narrates a device that allows the indigenous people of the isle to localise and protect their rare earths and minerals. It's ancient, hence deeply integrated with the surrounding flora. Pay close attention and you will get to hear the shimmering stream nearby.

„Tuiflsrijtt“ ist bayerisch/österreichisch für „Teufelsritt“ und
assoziiert sowohl die Krampusläufe als auch die Geschichte
hinter der Krampusgestalt (Mythos, Legende und Tradition).
Das Album fungiert als eine Brücke über die Grenzen des
Diesseits hinweg zu den Teufels- und Rauhnächten und
beschwört neben der dunklen Krampusgestalt, welche das
Fleisch mit ihren Ruten und Ketten martert und die
todgeweihten Seelen verschleppt, das Wesen der Drude, die
Ihre Opfer quält, Perchten, welche die Seelen ins Totenreich
fort bringen und die rasenden Dämonen der Wilden Jagd.
Musikalisch ist „Tuiflsrijtt“ eine konsequente
Weiterentwicklung des bestehenden Konzepts.
Atmosphärischer Black Metal mit Old-School-Touch der
zweiten Welle, der im Vergleich zu vorhergehenden
Veröffentlichungen jedoch deutlich an Geschwindigkeit und
Aggressivität zugelegt hat.
Krámpns keifend-fauchender Gesang, die eisig-sägenden
Gitarren, gezielt eingesetzte, düstere Keyboard-Passagen, der
stark verzerrte, aber druckvolle Bass und das wuchtige

Bud Records is proud to unveil Jellyfish - Summer Buds (Reworks), a compelling new vinyl release. This meticulously crafted 6-track EP showcases Jellyfish's distinctive touch, delivering three sophisticated nu-disco edits alongside three vibrant afro-latin reworks. An essential addition for discerning collectors, ready to elevate any sonic landscape.

Killer and classic 80s Roots Rubadub from the wonderful Reggae diva, Melody Beecher! An obscure cover version, with a star-studded rhythm section, including the likes of Sly & Robbie. Some amazing stories about these days, when working with Paul Beecher on reissuing this gem. All the way from Houston, Texas!

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

Reedale Rise has already made his mark with releases on Frustrated Funk and Delsin, but this latest release shows there's a whole new side to his sound. If you think you know him, think again. He's come through with three tracks of pure futuristic depth, all infused with Detroit influence. Envision Blade Runner-inspired machinery, deep house grooves and endless soul--this EP is a must for any true enthusiast. Detroit's Big Strick lays down his iconic tough-soul-house swing on the remix, completing a record that channels the lost history of underwater alien civilisations.

Rhiza Semar returns with Scarlet Cloak, the second instalment from Dutch-Indonesian producer and label founder Hitam. Emerging from the depths of sonic experimentation, Scarlet Cloak continues Rhiza Semar's mission - blending club-oriented tracks with a left-field approach. With three tracks from Hitam and a remix by Nawaz, the EP offers a subtle nod to early 00's mental tribe, reimagining it with a sleek, contemporary, edge. Pulsing tentatively, Scarlet Cloak opens with delicate drum patterns, paving the way for gritty, heady sonic immersion. Meticulously crafted, faint and distant synths emerge on the horizon, orchestrating an ambience that conjures quiet anticipation - a peaceful wonder drifting through the shadows. Blissfully snaking into the next production, Nawaz remixes the track with a razor-sharp switch in tempo, locking the mental trip. Setting the pace for deep introspection, fast and obscure aquatic layers ripple, submerging the listener into dark, murky textures. Flashes of club lights dissolve into a distorted memory, intangible yet electrifying as Future Kill seizes the mind. Pangs of liquid acid spread through an aphotic tunnel of sound, while percussive elements pump the heart, mirroring the adrenaline rush before stepping into a cavernous rave. In Your Head spins forward, stripped-back minimal layers congregate, spiraling the EP toward a hard climax. Rough-cut textures and skittish vocals lay on a soft bed of snares, creating psychedelic dissonance. The atmosphere thickens and breaks with permeating, rolling kick drums, drawing this 10-minute odyssey to a close. Lose yourself in a sonic labyrinth as Hitam masterfully crafts Scarlet Cloak - a volatile minefield seeping with rude, mental, teeth-gritting energy. credits Words by Charlotte Hingley

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

"High urgency music with a very personal expression of the artist: in one way or another", this has always been the important or maybe even the core factor of every Cortizona release so far.

So it was just a matter of time until DJ Marcelle/Another Nice Mess, longtime fan of The Fall and Jiskefet, topnotch producer, dj wizard with three turntables (and a lovely person in general) - and myself - would collaborate towards a Cortizona release.

I guess the initial idea of working together with DJ Marcelle/Another Nice Mess dates back to 2019. One day she called me four times in five minutes just to hear Mark E. Smith's voice message on my phone. Since then there has been no going back. I mean: what's not to love about her?

Some time ago, she sent me the digital files of her new LP 'Sorry, No Service'. One of the tracks, 'Sorry, No Silence', features the Nan Goldin sample: 'this is clearly ethnic cleansing', taken from Goldin's impressive speech to which the audience cheered in support at the opening of her exhibition at the Neue Nationalgallerie in Berlin end of 2024.
Two weeks later Marcelle contacted me again: her German label refused to release the track. This was the moment we had both been waiting for: at last Cortizona and Marcelle would work together!

The album is due to be released later this year, but, with things as they are in Gaza, it is important to issue 'Sorry, No Silence' as a stand-alone track as soon as possible.
Talking about urgency!

'Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moraland political bankruptcy of 'western values'. It does so over a repetitive, militant tribal beat, complete with heavy basslines. The spirits of Mark Stewart, On-U Sound and Muslimgauze loom over the track, but as is always the case with Marcelle, both on stage and in the studio: she has an authentic style of her own, where playfulness meets courage and - also in this case - anger meets rhythm.

'Sorry, No Silence' is a track I didn't know I was waiting for. A track reflecting the sign of the times. The 12'' also features an even more heavy (and faster) dub version and the avant garde track 'Never Again Means', featuring more Nan Goldin samples: 'never again means never again for everyone'.
For obvious reasons the proceeds of this 12 inch and the digital Bandcamp release will be donated to PCRF, Palestine Children's Relief Fund.

Support more than welcome.


(written by Philippe Cortens)

Snorkel Records proudly presents the third release in its 12'' single series: Samme Gamle Ulla by Olefonken. 'Ulla' is the Norwegian word for wool, and this record is woven from studio dust and soft synths. Wrap yourself in it before it unravels!

Feiern Sie 30 Jahre Freundschaft mit Disney und Pixar’s Toy Story: Die Songs to Infinity and Beyond
zoetrope Vinyl mit den kultigen Songs „You’ve Got a Friend in Me“ aus Toy Story, „When She Loved Me“
aus Toy Story 2, „We Belong Together“ aus Toy Story 3, „I Can’t Let You Throw Yourself Away“ aus Toy
Story 4 und mehr!

DJ support: Fabio, Skeptical, Visages, Zero T, Makoto, DJ Marky and more

Alix returns to the imprint after last year's release of his revered mini album 'Entanglements'. Oddments Vol.1 continues down the soulful drum and bass path, offering 2 solo ventures as well as 2 collaborations featuring 2 of the UK's finest lyricists - Confucius MC & Verbz.

[c] A3 The Color Of Night; Soloist [Electric Guitar] – Tim Holt (2)


[f] B1 The Black Dog And The Wandering Boy; Soloist [Electric Guitar] – Cornbread (4)

4 years after his last solo record on his Wych imprint “BB-8 / Barbarossa”, K-LONE returns for another 2 track EP of bleepy melodic 140, this time reminiscent of Bristolian Purple dubstep aesthetic. Saw waves, cheesy 80s chords and flute melodies continue the signature sound of Wych with "Squelch / With Luv". Mastered by Beau at Ten Eight Seven. Artwork by Annie Foyster.

Mit "Everybody Loves the Sunshine" (1976) vermischt Roy Ayers nahtlos die Genres Soul, Funk & Jazz und erschafft einen zeitlosen Sound, der Musiker und DJs auf der ganzen Welt noch immer beeinflusst, mit dem Vibraphon als zentrales Instrument, ein Ansatz, der Ayers einzigartigen Stil definiert. Im Jahr 1976 veröffentlichte der legendäre Musiker und Komponist Roy Ayers mit ELTS eines der bedeutesten Alben seiner Karriere. Dieses Album festigte nicht nur Ayers' Stellung als Schlüsselfigur in der Welt des Jazz, sondern markierte auch einen Meilenstein in der Soulmusik und im zeitgenössischen Jazz-Funk. Es zeichnet sich durch eine raffinierte Mischung aus unwiderstehlichen Grooves, sanften Melodien und einem einzigartigen Sound aus, der über die Jahre hinweg nicht verblaaste und für mehrere Generationen von Musikern und Hörern zu einer Referenz wurde. Mitte der 70er Jahre hatte sich Ayers bereits mit seiner Band Roy Ayers Ubiquity und seinem unverwechselbaren Einsatz des Vibraphons, das zu seinem persönlichen Markenzeichen wurde, einen Namen gemacht. Und mit ELTS wagte sich Ayers an einen noch zugänglicheren Sound, auch als Reaktion auf den Aufstieg von Disco und das wachsende Interesse an Musik afro-amerikanischer Prägung überhaupt. In den zehn Tracks des Albums schafft Ayers eine Klangatmosphäre, die sowohl die Wärme des Sommers als auch die Raffinesse des Jazz jener Zeit heraufbeschwört, alles vor dem Hintergrund des modernen Soul. Produziert von Ayers selbst zusammen mit seinem Engineer und Freund David R. Williams zeichnet sich ELTS durch den wunderbaren Klang des Fender Rhodes Pianos von Phillip Woo sowie die kraftvolle Energie der restlichen Band aus, wodurch eine unverwechselbare Authentizität und Frische erreicht wird. Zu den bekanntesten Songs gehören der Titeltrack, "The Golden Rod" und "The Third Eye", die schnell zu Klassikern des Jazz-Funk und Soul wurden. Dieses Album ist für Roy Ayers' Karriere von entscheidender Bedeutung, da es seine Fähigkeit unter Beweis stellt, in einer sich ständig verändernden Musikindustrie relevant und kreativ zu bleiben. Im Laufe der Jahre wurde "Everybody Loves the Sunshine" zu einem Kultalbum, das häufig in DJ-Sets von Künstlern wie Gilles Peterson, Theo Parrish und Lefto gespielt Verwendung findet. Der Sommer-Soul-Klassiker jetzt wieder auf klassischem schwarzem 180g-Vinyl!

The Richard Sen remixes of John Grant were commissioned in 2016 but were never released. Since then, enquiries about release have continued to this day. Sen's remix of 'Disappointing' featured on Andrew Weatherall's Beats In Space mix in 2016 and was a staple in his DJ sets, especially at ALFOS. Charlie Bones, Ivan Smagghe and Optimo also supported it at the time. This release on Sen's DIYC label follows his much hyped album, India Man. In addition, Richard's compilation, Dream The Dream on Ransom Note (2023) was voted Best British Compilation by DJ Mag. These remixes have also been gaining much interest from the listeners of Sen's weekly show on Do!! You!!! Radio.

Following Stab Breaks and Crystal Blue Cuts, a chilling new theme emerges this time inspired by the legendary horror icon Chucky, the killer doll with razor-sharp punchlines. This record is a full on tribute to the story and voices of the film’s unforgettable characters. Side A delivers a loaded sound bank packed with eerie samples, while Side B features six skip-proof scratch tracks designed for seamless performance. Also included is a download card giving you digital access to the full record, plus four exclusive bonus beats available for free download.

Debut single from forthcoming full length out in May 2019. The first time we heard Bobby Oroza, it was his slow moody ballad 'This Love', that perked the world's ears and made a name for the dapper crooner that calls Finland his home. Since it's release, 'This Love' has become somewhat of an underground hit, the soundtrack to car shows and swap meets in the West Coast, numerous movies and TV shows, and it even made it to Earl Sweatshirt's most recent mixtape. This new single from Bobby Oroza picks up the tempo and showcases another side of his range with a record sure to move bodies and nod heads. The A side 'Your Love Is Too Cold' is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond

soundtrack. Bobby pleads over the track of his decision to call it quits and keep it quits. The B side 'Deja Vu' finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby's vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

Thomas Valverde unveils Polka, his second album. This new record dedicated to solo piano takes the approach of a pared-down, minimalist production. Both upright and grand pianos are used. The grand piano is used to develop a powerful, committed and liberating discourse, while the upright piano brings a more organic sound and allows an intimate experience. The tracks on the album are conceived as sidereal love songs. Songs without words, more apt to translate the invisible, the threads of love and beauty. Everything has to be said on the keyboard, in the notes and between the notes. The album was recorded at the prestigious La Fabrique des Ondes studio, with David Chalmin (collaborator of Thom Yorke, The National, Katia & Marielle Labèque) recording and mixing. The album's title is a nod to two of his teenage heroes: Serguei Rachmaninov (genius composer) and Vladimir Horowitz (legendary pianist), whose music haunts so many musicians and music lovers. It's also a pun on the name of DJ and producer Paul Kalkbrenner (Paul K), whose simple, powerful tunes influenced the title "Polka". Thomas Valverde is also the founder and artistic director of the Biarritz Piano Festival, which features some of the world's finest pianists.

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. It combines Brazilian rhythms with classic American soul elements, creating a unique fusion. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel.

The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes that has become a DJ’s favorite in recent years and also made it into several compilations. "Cuban Soul-18 Kilates" has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics like Evinha “Cartão Postal” or Gerson King Combo.

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. Influenced by artists like Otis Redding, Eddie Kendricks, Stevie Wonder, and others, it combines Brazilian rhythms with classic American soul elements, creating a unique fusion. The album features 9 tracks, with ‘A Lua e Eu’ becoming a major commercial hit and the theme song for the soap opera “O Grito”. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel. The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes, with its captivating bassline, subtle percussion, and natural sounds of the sea, making it perfect for moments of relaxation. This song, along with the album’s other tracks, showcases Cassiano's mastery of Brazilian soul, making “Cuban Soul-18 Kilates” a definitive and cherished record in the genre. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After not being available outside of Brazil for years, it’s finally been reissued – don’t miss your chance to own this legendary piece of music history.

Corbin (FKA Spooky Black) makes captivating, honest, and raw music that harkens back to the days when the singer-songwriter’s artistic vision prioritized vulnerability over image. The St. Paul, Minnesota native came to prominence during the rise of the SoundCloud gold rush, helping to influence the new generation of Gen Z songwriters. Songs such as the haunting portrait of addiction “Diazepam”, and his battle with insecurity and instability in relationships “ICE BOY”, showed off his ability to connect with the plight of modern adolescence. But it was the internet-breaking, classic ballad of yearning “Without You”, that inspired a generation of disaffected and abandoned adolescents, serving as a soundtrack to make the alienated feel a little less alone. He’s attracted some of the biggest names in music, featuring on songs with Chief Keef, Trippie Redd, and The Kid Laroi, among others. With his latest record, Crisis Kid, Corbin dials back the angst in favor of an intimate vocal style that sounds like he’s reading his diary from a candlelit cabin. A more polished and refined version of Corbin resurfaces as he contemplates collective suffering, generational trauma, and the quest to find hope during the bleakest timeline, offering a voice for the voiceless.

Baïne is the 3rd album from mohs. and remains true to their sonic universe: dreamlike, adventurous and skillful. Blurring the lines between jazz, ambient and folk, these 10 new tracks immerse us in an imperturbable state of bliss, close to the emotions conveyed by Carlos Niño or Khruangbin. All of which is sure to please the international community of fans they have gathered through their previous releases and concerts, and confirm them as rising stars of the Swiss jazz scene.

KITCHEN FUNK: The Groove Legacy of Funk, Hip-Hop, and House
Founded in 1999 in Lorient by Tabasko and Ramirez, key figures in the Breton underground scene, KITCHEN FUNK fuses hip-hop, soul, funk, acid jazz, and house music into a unique sonic universe. Combining punchy rhythms with captivating grooves, the duo made a name for itself in the 2000s, marked by the excitement of clubs and radio stations.

"LETUGO": A Forgotten Treasure Finally Rediscovered
Among their notable collaborations, "LETUGO," recorded with Karl the Voice, embodies the very essence of KITCHEN FUNK. This powerful track, blending funky vibes and soulful energy, didn't receive the promotion it deserved upon its release.

25 years later, the story takes an unexpected turn. After rediscovering local archives, RAMIREZ and JULIEN LO BONO decided to reissue "LETUGO" on vinyl to mark the project's anniversary. The initiative sparked immediate interest: Breton radio stations picked it up, and the record finally found its audience, proving that KITCHEN FUNK's groove is timeless.

A resounding success with "PUSSY CALL"
Before this resurgence, KITCHEN FUNK had made a lasting impression with "PUSSY CALL", a hit that received critical acclaim on Europe 2, NRJ, and RADIO FG. This success allowed the duo to sign with CHRYSALIS PUBLISHING and then 909 RECORDZ (WARNER FRANCE), confirming their place in the French music scene.

A promising future
And this is just the beginning... Boosted by this renewed interest, KITCHEN FUNK is preparing new projects, supported by Jean Jérôme, a key player in the success of "PUSSY CALL." A return to the stage is in the works, ready to rekindle the flame of funk, hip-hop, and house music for a new generation of enthusiasts.

Betino’s Records is taking pride in releasing Lucas Moinet Trio debut album. Entitled "Time Travel", it takes us on a deep journey into Jazz Fusion, Funk, Boogie, and 70's inspired vocoder love songs. Lucas Moinet invited his music friends to be a part of the project : Camille Frillex, on bass and Lulu Jems on drums plus a few guests like Illa on vocals, Donald Devienne on trumpet, Lucas Piette on saxophone and Stupid Flash for some additional production. Being a multitalented musician, he composed, arranged the music and recorded the Fender Rhodes piano, guitars, Korg MS20, string machine & vocoder parts in the studio. Through the vocoder, he turned Jazz Fusion into love songs, from the funky "Close to You" to the organic "Crescendolls Are Missing", paying tribute to the Rhodes and vocoder masters from the 70's. Herbie Hancock, Patrice Rushen and Alain Mion to name a few…
The album explores a lot of different styles with the downtempo bossa nova track "Soupir de Caracole" or the deep and atmospheric "New Morning".
Everything was composed, recorded, arranged and mixed at Lucas Moinet's Studio 937 in Paris. The production and recording process took a long time and after many years, the band is really proud to introduce "Time Travel".

'Ye Mele' is a very firm Mr Bongo favourite, and always a contender for end/start of the night track. A true classic.

Opens with a distinctive vocal harmony/chant and claps before dropping into bossa piano, organ and drums, which calms for a moment before reaching the chorus... and then building more into a horn section, that plays until the end. Immense.

Taken from Vinhas' now relatively expensive and very excellent 'O Som Psicodelico' LP from 1968.


'Berimbau'. And again - another favourite. Awe inspiring arrangement, of the highest order.

Opens with what is very reminiscent of a Brazilian Western soundtrack, before soaring into vocals, strings and horns. And then THAT end section...!

Golden Boys were a male vocal group, of brothers. 'Berimbau' is taken from their self-titled 1969 LP.