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Canada's Andre Zimmer makes his SEVEN debut with his 'Wait a Minute' EP - a stellar collection of faster, chuggy, pacey style of house gems. The EP's title track is the first to slam, with a heavy-handed 909 kick blistering beneath a chugging bassline.

Taking influence from the Berlin house scene, it serves one purpose: to galvanise dance floor energy.
Parisian producer Vitess lands a remix of 'Wait A Minute' with his '90s-focussed sound and penchant for deep, minimal sounds being the pull. Lucious pads and electro synth lines across the hip-hop influenced vocals bolster the track's impact. 'Ice Lolly' came together at a friend's pad in Los Angeles, with a jam session grabbing UKG and speed garage influences and infusing those with a distinct '90s tech house vibe.

For its '90s influences, 'Round Two' finds its muse in a classic rave organ, while other elements that evoke a sense of the heady warehouse parties from that era include sampled vinyl scratches, breakbeats, and chunky bass from his Yamaha DX200 vintage synth.

Speckman D.J. & Producer hailing from Hamburg. Co-founder of the tastemaking partyseries Dreamteam and resident at the legendary Golden Pudel Club is finally presenting his new Album titled „NOISEMAKER“ on Public Possession. His eclectic style as a D.J. is perfectly represented in the Music on this record, sitting comfortably between techhouse, indie, new rave and electronica it could probably be best described as a pretty epic take on electroclash in a fully updated, reloaded 2025 version. Fu**in seriously, unserious party music with a nod to the past yet fully in the present. The mellow, deeper episodes are the topping on the bright, pink cake. Speckman is going to jump out of it and right at you. Find him soon in a D.J. booth close to you, no matter if he is supporting „The Dare“ on his EU Tour or holding controls at the Golden Pudel Club. It’s going to be wild and full of surprises.

"Whistle from Above" is David Grubbs" first Drag City release in over a decade and his first-ever instrumental album for the label. The suspiciously youthful Grubbs is four decades into his career, with former bands including Gastr del Sol, Squirrel Bait, and Bastro, along with a wild ride of collaborators including f.e. Bitch Magnet, Codeine, The Red Krayola, Royal Trux, Dirty Three, Will Oldham, The Underflow and The Wingdale Community Singers. "Whistle from Above" is the first solo collection David has released since 2017"s Creep Mission. During the 2020 shutdown, David played what he precisely quantified as "a shit-ton of guitar," more than he could recall playing ever previously. Reinvigorated by this period of enforced woodshedding, he produced a series of new pieces, mostly for guitar, but also a piano composition and an exceptionally eerie bit of musique concrète. Meanwhile, David was reconnecting with the Gastr del Sol archive, as a new collection of old performances was being prepared from extensive archival material. The duo magic of that storied collaboration (released in 2024 as We Have Dozens of Titles) left David hungry to play in this format again - as he had recently with Loren Connors, Alan Courtis, Manuel Mota, and Liam Keenan. These duo experiences showed David the path forward to complete this new solo material. Thus he sought out collaborations with folks he"s called "some of the musicians whom I adore most on the planet" - Rodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey - and their stunning contributions flesh out Grubbs" innate, deeply person brand of minimalism. "Whistle from Above" is a colourful, compulsive set of instrumental pieces in which David and his chosen collaborators interact amid the steady roll of an expansive landscape based in the hypnosis of David"s immediately recognizable guitar style.

(Limited edition to 500 copies, remastered audio, pressed and printed in Indonesia) The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre.



Dangdut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid 20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is until today the undisputable king of dangdut and his role as pioneer of the music is already in the history book. In fact, there's one book documenting the outsized role of Rhoma in establishing dangdut as the father of this music. The book is aptly titled Dangdut Story, written by Pittsburgh University music professor Andrew N. Weintraub.



Among Indonesian fans of dangdut, there’s this one misconceptions that dangdut music is that it is an indigenous art form from Indonesia and that it constitutes an amalgamation of local, traditional music of this Southeast Asian nation, with Malay music being the most prominent feature in the mix.



Dangdut pioneer Rhoma Irama is among the first to reject this assertion. “Dangdut music may have originated in Deli (in North Sumatra) but then got the influences from the West and India”, he said.



Indeed, most of Rhoma’s well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West.



Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka and Tom Jones. In 1972, Rhoma won best singer title in a Southeast Asia singing competition in Singapore playing Tom Jones “I Who Have Nothing.”



Yet, nothing changed Rhoma’s fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group.



His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as “theatre”, through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show.



And this is actually the contradiction of Rhoma’s brand of Malay music. “One might legitimately ask how imaginative, not to say bizarre, costuming and dancing with abandon could be related to some of the objectives of Rhoma has set for himself and soneta group”, Frederick wrote on his seminal work on the singer, Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture, published in 1982.



From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia’s music industry.



Detractors like to point out how much he was indebted to Deep Purple, but a closer inspection reveals how he in fact had mined his influences even deeper.



Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song “Santai” (Relax), this album’s closer or “Credit Title (Instrumentalia)” which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone’s or Isaac Hayes’ tunes from that era. Other highlights of the song is the funky guitar licks and the droning Hammond a la George Clinton that stabs deep in the record groove. In the guitar solo, you can also hear the bark of George Harrison’s licks from “Taxman”.



The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre. Only 500 copies were pressed for this compilation.

Der visionäre Jazzsänger lädt ein auf eine kühne musikalische Reise in Richtung einer grenzenlosen, integrativen Gesellschaft.
Dieses Album verkörpert Freiheit - sowohl in seiner emotionalen Unmittelbarkeit als auch in seiner Umarmung einer neuen, imaginären Sprache, die sich über kulturelle und territoriale Grenzen hinwegsetzt. Es ist ein aufrichtiges Angebot, das den Hörer dazu einlädt, Grenzen und Egoismus zu überwinden und in ein utopisches Reich einzutauchen, in dem Musik verbindet.

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”

Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

The very first (and long overdue) career-spanning retrospective from Soul music legend P.P. Arnold • A 57 song 3CD set, or 25 song 2LP set featuring singles, album tracks, demos, and previously unreleased songs • A stylishly packaged collection with new sleeve notes by author Jude Rogers • A companion piece to P.P. Arnold's critically acclaimed autobiography Soul Survivor The term "well-established" might be appropriate for some artists but it barely begins to cover the career of the phenomenal P.P. Arnold, whose records and performances are now in their seventh decade.

Her consistently excellent music covers multiple genres, her high-profile admirers and collaborators are plentiful, and yet 'Soul Survivor - A Life In Song' is the first collection dedicated to this extraordinary body of work. Compiled by the artist, 'Soul Survivor - A Life In Song' is being released on a 57 song 3CD set, and 25 song 2LP set, both formats housed in an eye-catching sleeve created by photographer (and close friend) Gered Mankowitz, with extensive new sleeve notes by author Jude Rogers.

Alongside key singles and album tracks it includes previously unreleased recordings, demo versions, live performances, and some rare mixes that are being reissued for the very first time. From her early days at Andrew Loog Oldham's Immediate label (where she "became one of us", according to Andrew) her allies, associates, and working partners have included the Small Faces, Cat Stevens, Mick Jagger, Barry Gibb, Eric Clapton, Andrew Lloyd Webber, The Blockheads' Chaz Jankel, Roger Waters, Ocean Colour Scene, The Blow Monkeys' Dr. Robert, and Paul Weller. In 2022 P.P. Arnold told her extraordinary life story in her critically acclaimed autobiography Soul Survivor (Mojo magazine called it "a jaw-dropping memoir"); now that book has the soundtrack that it deserves.

Recorded during a residency in Tenerife powered by Keroxen Festival and Discrepant back in 2020 - amidst the pandemic, no less -, the duo of Carlos Godinho and Mestre André return after their 'Mãe D'Água' debut on Sucata Tapes and an entry on Keroxen's Aquapelago Series through a split with tropical druids Lagoss. Mostly captured in performance through a quadraphonic system placed inside a huge disused fuel tank, with a few tracks recorded out in the open throughout the island, 'Lava Love' evokes the tectonic shifts and motions inherent in their title in 13 tracks.

Based around Godinho's percussive arsenal, from found objects to instruments from all sorts of cartographies, and André's electronic processing, each of these expositions is a point in a map that is created between the island's concrete and fictional existence, discarding any superficial overdubs and crescendos, to focus on the balming and transporting properties of sound itself. From stripped down vignettes like 'Bajamar I' & 'II', 'Chacho' or 'Tangana I' to hypnotic tapestries that confuse the real and imagined like 'Haha No!' or 'La Gomera', Banha da Cobra conjure a collective dream of the island.

All tracks performed and recorded by Banha da Cobra in a quadraphonic system inside an enormous fuel tank (Espacio Cultural El Tanque, Santa Cruz de Tenerife),except Bajamar I and II (recorded outdoors at cantonera de Bajamar, with Lagoss), Taganana I and II (recorded outdoors at Playa de Almáciga) and El Guachinche de Los Realejos (recorded outdoors at Playa de Castro, with Lagoss).

Our debut single with Senpolya was born out of desire to create some modern Russian pop infused with references to the 80s dance music. While making 80s-inspired tunes is popular nowadays, this decade means different things to different people: be it A-ha and Modern Talking or African boogie and Chicago house. But we ended up making neither one nor the other.

The crowd who contributed to this release is absolutely legendary. Each time I listen to it and think of them, a new dimension opens up in my mind, adding up some deeper layers of context Ive immersed myself in over the past few years.

An italian producer and bass player Marco Boccamazzo created the first remix. By adding bass guitar and strings, he took the track back by another ten years.

DJ Popinjay, an alter ego of a tropical disco master who wishes to remain anonymous, provided the second rework.

The third remix or more like an essentially an entirely new track, comes from Sonestrose, a duo consisting of Andrey Algorithmic, an art director of Moscow Powerhouse, and Alexander Basian, the studio's sound engineer.

Ignat Akimov, also known as DJ Pecan and an art director of Esthetic Joys Embassy, crafted the fourth hallucinogenic remix, which spans from acid house with Indian drums to cool jazz sound.

Lipelis and Scruscru help me in making some key decisions about the tracks structure, arrangement, and mixing.

Ilya Varankin made a photo of us (on film!) and Nikita Demin designed the cover picture inspired by Daptone Records.

At last, I want to thank my wife, Masha Dostoewskaya, without whose love and patience I wouldn't have been able to see this project to an end.

After two pandemically conditioned ‘reaction’ albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper... Since the traditional 3 or 4 piece rock band seems to be a dying breed these days, and MP always was a band in flux anyway, a new pragmatic era has begun in the Psychoverse. The band has, in what one might call alchemical terms, been ‘dissolved and purified’, and is by now again reduced to the core two founding members HMR & BS. This is nothing new, it has happened a few times before, but these days they are also the owners and creators of the record company NFGS, which is now the hub of all recorded band activity, and Motorpsycho marks the final severance of existing ties to other labels for the first time in 35 years. If ‘freedom is free of the need to be free’, this is it. Yikes! The minimalist title of the album is then not just easy to remember, it’s also a statement: a new era has begun in the Psychoverse, a state of affairs reflected in execution and details as well as title, if not perhaps, in ambition or size: “Senex psittacus negligit ferulam” *. This is a time of new beginnings for a band that has spent two years consolidating and reseting before charging ahead anew on a new path, trumpets blaring (...and trumpets don’t come much more blaring in the Psychoverse than with this grandiloquent hyperbole. Good fun! ). New day rising indeed. The core band was adroitly helped by a gaggle of greats from all over the Scandinavian musical landscape on these recordings: drummers Ingvald Vassbø and Olaf Olsen, string arranger/violinist Mari Persen, vocalist Thea Grant, and - as usual - honorary psycho, brother Reine Fiske, were all fellow travellers on this musical journey. Motorpsycho was co-produced by the band and Deathprod, and mixed by Andrew Scheps. Motorpsycho are not the best at what they do, they’re the only ones that do what they do. NFGS2025 *: “Senex psittacus negligit ferulam,” or “An old parrot doesn’t mind the stick.”

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.

Seit der Gründung 2010 durch Andrew Weatherall und Sean Johnston entwickelte sich die Clubreihe "A Love From Outer Space" (ALFOS) zu einer britischen Institution, expandierte und erreichte ein internationales Publikum. Als Reaktion des Undergrounds auf den schnelllebigen Mainstream verfolgte ALFOS einen langsameren, nachhaltigeren Ansatz bei einem Tempo von maximal 122 bpm. ALFOS wurde für seinen eklektischen und hypnotischen Sound bekannt, der alles von Cosmic und House bis zu Dub und Post-Punk vermischte. Dieser Jubiläumssampler spiegelt die Musik wider, die ALFOS in den letzten 15 Jahren geprägt hat. Das von Johnston zusammengestellte und gemischte 19-Track-Album ist eine Hommage an die reiche Geschichte des Clubabends und sein Engagement, musikalische Grenzen zu erweitern. Es enthält zahlreiche exklusive Titel, darunter The Blow Monkeys' begehrten Neville Watson-Remix und Brioskis "Call 626", sowie eine breite Palette von Sounds, die sowohl die Vergangenheit ehren als auch die Zukunft begrüssen.

Wie lässt sich eine Ahnung von Schönheit finden inmitten von Angst und Grausamkeit. Wie lässt sich all das Unsagbare hörbar machen, aber auch Wut, Zuversicht und unbedingter Lebenswille. Mit seinem dritten Album "Temple Of Hope_Ç hat der iranische Komponist Saba Alizadeh eine bewegende Hommage an die Menschen seiner Heimat geschaffen. Die Geschehnisse während der "Woman Life Freedom_Ç-Bewegung, aber auch die Kämpfe der Bevölkerung in den Jahren zuvor setzt er in eindringliche electro-akustische Musik um. Intensiviert durch Gesang und Lyrik von Andreas Spechtl, Sanam Maroufkhani und Leila Rahimi. In seinen Kompositionen kombiniert Saba Alizadeh das traditionelle Saiteninstrument Kamanche und Streicher mit modularem Synthesizer und No-Input-Mixer. So entsteht ein spannungsgeladener Sound, der vor allem die Sprachlosigkeit und Zerrissenheit zwischen Leid, Aufbegehren und Hoffnung auslotet. Historische Radio-Sequenzen verwurzeln seine Stücke in der Kultur und Geschichte des Landes. Die starke Verfremdung und Dekonstruktion dieser akustischen Elemente verweist wiederum auf das Unbegreifliche. Auf existentielle Erschütterungen und Auflösungsprozesse. In seinem "Temple Of Hope_Ç versammeln sich Mut und Zuversicht. Denn Saba Alizadehs vielschichtige Stücke mögen zwar oftmals wie ein Widerhall des Entsetzens wirken. Doch zugleich entfalten sie eine eigene erschütternde Schönheit.

Repress!

Back for a limited edition 12” single from The Future Sound of London comes the iconic original ‘12TOT17R’ collection of “Papua New Guinea” mixes. Mixes alongside the classic 12” Original include the full length Andrew Weatherall Mix, reissued here for the first time since 1992. Andrew Weatherall (1963-2020) was one of the key DJs on the acid house dance scene and this mix is one of his most highly regarded works next to Happy Mondays, New Order and Bjork. This edition is a limited edition to only 2000 copies only.

"Wien - die Stadt mit dem wahrscheinlich schönsten Namen. Allein der Klang ist schon Musik." (Andreas Dorau) Grund genug, der österreichischen Hauptstadt ein ganzes Album zu widmen. Die Idee dafür entstand, als Dorau gemeinsam mit zwei Freunden an einem Stadtplan Lübecks arbeitete und dessen brachliegende Geschichten abseits der üblichen Attraktionen erforschte. In Dorau entflammte die Faszination für das Porträtieren einer Stadt aus der Sicht des unvoreingenommenen Touristen, des Besuchers und Außenstehenden. Musikalisch spannt das Album einen weiten Bogen und bietet sowohl wunderschöne Pop-Momente ("Der Regen in Wien"), knarzigen Kawaii-Minimalismus zusammen mit der Kölnerin Stefanie Schrank ("Lass uns spazieren gehen") aber auch Stücke, die sich in ihrem Charakter jeder Einordnung entziehen ("Alles ist gleich"). "Wien" ist somit nicht das erwartbare Album, das der Titel zunächst vermuten lässt. Vielmehr bietet die Platte Einblicke in Andreas Doraus" persönlichen Zugang zur Stadt, die zuweilen auch ein schwierig-schmieriges Verhältnis offenbaren. Und während Popmusik aus und über Österreich im Grunde schon bei Mozart und Schönberg begann, ist Pop aus Deutschland über Österreich vermutlich eher eine Neuerung. Wenn es dann auch noch ein norddeutscher Musiker ist, der ein monothematisches Album über die österreichische Hauptstadt macht, drängt sich fast zwangsläufig die Frage auf: Ist das schon Austro-Pop?

"Wien - die Stadt mit dem wahrscheinlich schönsten Namen. Allein der Klang ist schon Musik." (Andreas Dorau) Grund genug, der österreichischen Hauptstadt ein ganzes Album zu widmen. Die Idee dafür entstand, als Dorau gemeinsam mit zwei Freunden an einem Stadtplan Lübecks arbeitete und dessen brachliegende Geschichten abseits der üblichen Attraktionen erforschte. In Dorau entflammte die Faszination für das Porträtieren einer Stadt aus der Sicht des unvoreingenommenen Touristen, des Besuchers und Außenstehenden. Musikalisch spannt das Album einen weiten Bogen und bietet sowohl wunderschöne Pop-Momente ("Der Regen in Wien"), knarzigen Kawaii-Minimalismus zusammen mit der Kölnerin Stefanie Schrank ("Lass uns spazieren gehen") aber auch Stücke, die sich in ihrem Charakter jeder Einordnung entziehen ("Alles ist gleich"). "Wien" ist somit nicht das erwartbare Album, das der Titel zunächst vermuten lässt. Vielmehr bietet die Platte Einblicke in Andreas Doraus" persönlichen Zugang zur Stadt, die zuweilen auch ein schwierig-schmieriges Verhältnis offenbaren. Und während Popmusik aus und über Österreich im Grunde schon bei Mozart und Schönberg begann, ist Pop aus Deutschland über Österreich vermutlich eher eine Neuerung. Wenn es dann auch noch ein norddeutscher Musiker ist, der ein monothematisches Album über die österreichische Hauptstadt macht, drängt sich fast zwangsläufig die Frage auf: Ist das schon Austro-Pop?

Nachdem sie gesehen haben, wie die Abholzung die Landschaft Costa Ricas bedroht, stecken Metalheads weltweit ihre Köpfe zusammen, um das Ökosystem der Welt zu erhalten.

Seit Gründung der Band im Jahre 2022 hat die 501 (c) (3) gemeinnützige Organisation 100.000 Quadratmeter Regenwald in Costa Rica geschützt. Savage Lands arbeitet mit lokalen und globalen Organisationen wie dem Jane Goodall Institute sowie mit vielen Entscheidungsträgern in der Metallindustrie zusammen. Auf „The Last Howl“ gibt es die Growls von John Tardy (Obituary) und hochfliegende Soli von Sepultura-Gitarrist Andreas Kisser. Heilung's Zeremonienmeister Kai Uwe Faust segnet den Black 'n' Roll von „Black Rock Heart“, während Maria Franz (ebenfalls Heilung) die melancholische Power-Ballade „No Remedy“ mit ihren beruhigenden hohen Tönen anmutig auflockert.

"Army of the Trees" führt mehrere neue Arten von Metalheads in das Ökosystem von Savage Lands ein. Die Eurovisions-Lieblinge Lord of the Lost versprühen bei „Out of Breath“ ihr Blut und ihren Glitter, und die Leadsingle „Ruling Queen“ wird von keiner Geringeren als Alissa White-Gluz von Arch Enemy mit ihren schlangenartigen Clean vocals und dem Gebrüll einer Löwin vorgetragen. „Jetzt ist es an der Zeit, Stellung zu beziehen“, brüllt die Band während des donnernden Titeltracks des Albums, der von Julien Truchan (Benighted) und anderen Säulen der französischen Metal-Gemeinde unterstützt wird, in einem wilden Schlachtruf.

Erhebt eure Hörner und schließt euch der Army of the Trees an, um die gemeinnützige Metal-Bewegung zu unterstützen!

Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, Andrea Laszlo de Simone... More than half of the major artists with whom he once collaborated, contributing to their albums or simply laying down a drum, bass, or any other heavy instrument line. Before OK Crooner, he also transformed into Tiger Tigre. This roaring alias was used for a first solo album, instrumental and so deep that one might have thought the ghost of François de Roubaix had taken shape. But that was before, before this exceptional musician decided to dive into the vast ocean of French variety to give a sequel, a culmination to this project. During COVID, Vincent Taeger started frantically listening to Souchon, Chamfort, Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. And the worst part is that he enjoyed it! Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. His alter ego, Vincent Taurelle, with whom he has produced many albums, took care of mixing this one.

The second album by Wini, Mops, and DJ Pete, the group FOREVAYANG from Germany and Poland. Before we kill the child within us, let’s dance one more time.

26 tracks released on 3 vinyl records in a GATEFOLD sleeve.

Uncompromising lyrics paired with unique humor, set to exceptional arrangements, guarantee a hip-hop journey like you've never experienced before. On the albums guests around the world such as, Michal Urbaniak, Ola Duong, Ceci Loel, D.White, Cool P & more

36 Jahre nach dem Fall der Mauer, präsentieren Dirk Zöllner (Die Zöllner) und Manuel Schmid (Stern-Combo Meißen) die schönsten Balladen aus dem
Land vor unserer Zeit. Keine Nostalgie Show, sondern Pflege eines hochwertigen Kulturerbes. Ein opulentes klangliches Erlebnis mit zwei Sängern,
zwei Klavieren, Saxophon, Gitarre. Lieder von Lift, Karat, Biege, Bartzsch, Bicking und Lakomy. Sänger und Pianist Manuel Schmid sorgt auch mit
eigenen Alben in der deutschsprachigen Musikszene für Aufsehen und hat 2024 mit der EP „Die Himmelsscheibe von Nebra“ die Stern-Combo Meißen
wieder in aller Munde gebracht. Saxophonist Marek Arnold ist in der internationalen Progressive-Rock Szene längst eine feste Größe und hat
gemeinsame Alben mit Steve Hackett (GENESIS), Jon Anderson (YES) oder Derek Sherinian (DREAM THEATER) veröffentlicht. Das vorliegende
Konzertmitschnitt wurde von ihm bearbeitet und gemixt. Sänger Dirk Zöllner und der Pianist André Gensicke arbeiten seit November 1987 zusammen
und gründeten im Juni 1988 ihre Bigband „Die Zöllner“. Sechzehn Alben erschienen in den vergangenen 35 Jahren. Zöllner veröffentlichte außerdem
vier Bücher und engagiert sich als Kolumnist der „Freien Presse“ für einen friedvollen gesellschaftlichen Zusammenhalt. Das Raue und das Weiche,
das Improvisierte und das Klare – schon mehrfach kam es zur Symbiose der sehr unterschiedlichen Stimmen von Dirk Zöllner und Manuel Schmid. In
Zeiten von Corona veröffentlichten die beiden ein Wohnzimmerkonzert mit besagtem Liedgut. 2024 wurde die Symbiose nun live erlebbar und als
Mitschnittfestgehalten.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Mit ihrem Debütalbum, 'Portraits', aus dem Jahr 2015 und dem ebenso hochgelobten 'Kingdom In Colours' aus dem Jahr 2018 haben Maribou State die Weltbühne betreten und gefühlvolle Downtempo-Electronica für eine neue Generation neu definiert. Ihre Musik wurde von Medien wie Kulturnews, Beat, TV Spielfilm & TV Today, Piranha & Start und wurde beim Münchner Radiosender, egoFM, sogar das Album des Jahres! International gab es zudem Support von u.a. NME, Complex, GQ, Clash und Crack Magazine, Mixmag kürte Maribou State zu einem ihrer 'Künstler des Jahres' und BBC 6Music huldigte 'Kingdom In Colours`' als „Album des Tages“, während Annie Mac, Gilles Peterson, Pete Tong und viele andere die Band unterstützten, sowie US-Radioplay von KCRW & KEXP - wo sie auch eine spezielle Live-Session spielten. Außerdem gab es Welttourneen, Auftritte an majestätischen Orten wie der Sydney Opera sowie Auszeichnungen als Künstler des Jahres und mit „Feel Good“ auch eine äußerst erfolgreiche Single mit Khruangbin. Bei 'Hallucinating Love' hat sich das Warten jedenfalls definitiv gelohnt: es ist ehrgeizig, vollgepackt mit erhabenen Hymnen und gespickt mit rastloser Energie, schwebenden Streichern und umwerfendem Gastgesang von Holly Walker, mit der sie schon seit vielen Jahren zusammenarbeiten, und neuen Freund:innen, wie der MOBO-nominierten Künstlerin Andreya Triana. Es unterstreicht Maribou States sich entwickelnde Balance zwischen Intimität und Komplexität, sowie ihr Talent, epische Musik für Sonnenuntergänge zu machen. Die engere Zusammenarbeit mit anderen half auch dabei, musikalisches Gold zu schürfen, und zwar bei verschiedenen Aufnahmesitzungen in idyllischen Gegenden im ganzen Land. Liam und Chris luden Kollaborateur:innen wie den unglaublich talentierten Produzenten Jack Sibley und den Bassisten Jonjo Williams ein und schufen so überall, wo sie hinkamen, kleine provisorische Gemeinschaften. Das verlieh ihrer Musik eine neue Energie.

Denmark"s leading outlet for jazz April Records presents their first debut of 2025 from a brand new quintet of some of the country"s most well known and respected young musicians - collectively called Oh People. Inspired by the works of Duke Ellington in the 20"s and combining them with sounds that came to life over half a Century later with a palpable sense of joy and love, "Part-Time Elegance" is set to release on January 17th on April Records. Exploring the idioms and tropes of the golden age of jazz, the record is built from deep pocket swing, lovesick ballads, percolating latin grooves, and upbeat melodies that can"t help but bring a smile to one"s face. With undertones of contentment and playfulness, each song evokes a sound and style of some of the 20th"s Century"s greatest jazz composers before evolving into passages of animated improvisation from Denmark"s finest new-generation soloists. Anyone who has been keeping up to date with Denmark"s prolific scene will recognize the members of "Oh People" from their solo projects and contributions to many of the nation"s leading jazz innovations. Jonas Due"s trumpet can be heard in the DR Big Band, and popular modern outfit OTOOTO. Andreas Toftemark cut his teeth working and learning as a musician in New York, before returning to Denmark to establish himself with two releases under his own name, receive the prestigious Bent Jædig Prize, and become one of the country"s busiest artists. Casper Christensen"s deep roots in the jazz tradition and Brazilian, coupled with the warm, acoustic sound of his guitar have seen him perform with the likes of Nana Rashid, Jesper Lodval and his own quartet. Lasse Morck has released three albums under his own name, drawing on South American musical traditions as well as literature and mythology. Henrik Holst has spent over a decade contributing his talents to Danish outfits like the Kathrine Windfeld Big Band and Jeppe Zacho Quintet, as well as international jazz legends Mike Stern, Gilad Hekselman and Immanuel Wilkins.

Vintage-Pariser Jazz. Vintage-Pariser Ambiente. Paris hat schon immer Jazzmusiker aus aller Welt in seine Clubs & Cafés gelockt. Paris ist insbesondere die spirituelle Heimat des Gypsy-Jazz, wo viele Jazzmusiker in der ersten Hälfte des 20. Jahrhunderts in den Bals-Musettes der Stadt spielten. Django Reinhardt machte sich in den 1930/40ern mit dem Geiger Stéphane Grappelli und seinem Quintette du Hot Club de France einen Namen, ebenso wie mit den Bands von Alex Renard, Alix Combelle, Ray Ventura, Claude Bolling und Jerry Mango. Dieser LP-Sampler gibt einen hervorragenden Überblick über die damalige Szene, als kurz nach dem Krieg die Viertel Saint-Germain des Prés und Latin zahlreiche berühmte Jazzclubs beherbergten. Alle Tracks wurden remastert.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

2LP 180gm 45 RPM audiophile edition, printed insert, polylined inners, gatefold sleeve, numbered Obi strip. The Alan Parsons Project "Pyramid" is re-issued in a variety of different formats including this 2LP heavyweight, 45 RPM Audiophile edition. The first pressing comes with a numbered Obi-strip. This edition was expertly cut by Miles Showell at Abbey Road Studios, October 2023 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from the original 1978 mastertapes. As with other The Alan Parsons Project albums, the focus was on very high-quality studio sound production, and they recorded the album at Abbey Road Studios in London. There were a variety of different lead vocalists employed including John Miles, Colin Blunstone, Lenny Zakatek, David Paton, Jack Harris and Dean Ford. Plus, a selection of session musicians such as guitarist Ian Bairnson and drummer Stuart Elliot with arrangements by Andrew Powell.

Trumpetist Francesco "Cicci" Santucci and saxophonist Enzo Scoppa cut their teeth in the late "50s, playing with the Italian group Modern Jazz Gang, along with other Italian jazz greats such as Sandro Brugnolini and Amadeo Tommasi. In June 1971, "il maestro" Piero Umiliani made his Sound Workshop recordingstudio in the heart of Rome availableto them, so that they could create an album under his supervision. The result was Olimpiade, a jazz-funk album featuring Franco d"Andreaon electric piano (who would go on to play with the group Perigeo a year later), and Belgian musician Joel Vendrokenbrak on organ. It should be noted that this session was also released on Dire, under the name On the Underground Road, but is here reissued for the first time with its magnificent original cover. A poster of the artwork and a printed insert featuring the Sound Workshop studio are also included with this reissue.

Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend's 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions by Redding on side two.

The album features musical assistance from Booker T. & the M.G.'s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.

The Otis Redding Dictionary of Soul was released in October 1966 on the Stax label and peaked at No. 73 and at No. 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness." In 2,000 it was voted No. 488 in Colin Larkin's All Time Top 1,000 Albums. In 2012, the album was ranked No. 254 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Makin’ Moves kick of 2025 with four hot tracks from Detroit producer Javonntte that will certainly warm you up from your winter slumber !
Detroit native Javonntte Garrett, better known simply as Javonntte.

Javonntte has been producing music and DJing since the early ’90s. Having had a love for music since he was a child growing up, he turned himself into an independent singer, songwriter, producer and even a dancer, where he once toured with Aretha Franklin’s troupe.
Having collaborated with legendary producers Blake Baxter, Amp Fiddler and Andres in his formative years, Garrett has since spread his wings as a solo producer, with a steady string of releases on such labels as Traxx Underground, Quintessentials and Kai Alce’s NDATL.
This fresh four tracker, has been hand selected by us and each track brings something different to the dance floor, from the soulful vibes of WHAT? to the the bouncier and more melodic sounds of Good Vibration and Chicago.

Asphodels, the seventh studio album from The Veils, was recorded live to tape over five days at Roundhead Studios in Aotearoa New Zealand, in the spring of 2023. The album takes its name from the Ancient Greek flower of the Underworld, and lyrically, Andrews draws more from the great poets than he does from the well of more traditional rock and roll songwriters. Asphodels will be released on 24-01-2025 by V2 (World) and Banished From The Universe (New Zealand)

Soolmaan is a sextet led by Belgian oud player and composer Tristan Driessens, accompanied by Nathan Daems, Christos Barbas, Annemie Osborne, Andrea Piccioni, and Levent Yildirim. Together, they create sound tableaus that float freely between the Bosphorus and India, with flute, sax, ney, cello, piano and tamburello igniting an imaginary folklore infected by jazz. Releasing their second album ‘Kashgul’ on the 24th of January with Zephyrus Records. (Vinyl / CD)

Driessens began his career immersed in the classical music of the Ottoman court, founding the Lâmekân Ensemble in 2011. After training under oud virtuoso Necati Çelik in Istanbul, he returned to Belgium in 2016 to form Soolmaan, an ensemble that reflects his multi-faceted identity. Rooted in Eastern modal traditions, Soolmaan’s music bridges jazz, folk, and classical influences, creating a unique and contemporary sound.

Their 2017 debut album, ‘Letters to Handenberg’, was described as "oriental chamber jazz," with Istanbul serving as a common thread. With Kashgul, their latest release, Soolmaan explores Ottoman makam, Indian raga and Anatolian halk muzigi, blending these traditions with a contemporary modal language. Created during Driessens' artist residency at the Concertgebouw of Bruges, the album features original compositions alongside reimagined works by Ravi Shankar, Amjad Ali Khan, and Art Pepper.
With improvisation as a connecting factor, Soolmaan’s music invites listeners into rich, boundary-crossing soundscapes where tradition and innovation meet. Kashgul exemplifies the ensemble’s ability to craft an immersive musical experience that resonates deeply with diverse audiences.

Upcoming concerts

December 8, 2024
Begijnhofkerk, Sint Truiden, BE

December 12, 2024
De Bijloke, Ghent, BE

December 14, 2024
De Bijloke, Ghent, BE

Embarking on the next Vargmal chapter with 'Bacchanalia', the new EP from Italian-born, Londonbased producer Andrea Bonalumi, better known as Big Hands. Across three original tracks and a remix by British producer Al Wootton, 'Bacchanalia' moves through hypnotic grooves exuding primal energy and forward momentum, blurring the lines between percussive techno intensity and
subterranean bass vibrations.

Opening with 'Bacchanalia I', Big Hands lays down the foundation with a rhythmic drive where each beat shifts and evolves within a dense, organic framework, capturing the raw energy of live modular electronics. The journey continues as 'Bacchanalia II' shifts focus toward heavier, low-end vibrations, where intricate layers of bass and rhythm interplay in tension-filled dialogue that builds
intensifying energy.

'Bacchanalia III' offers a moment of reflection, pulling back the energy to reveal a more sparse and atmospheric landscape. It's a fitting progression that offers a glimpse into Big Hands' more introspective side, balancing the EP's momentum. Al Wootton's closing remix of 'Bacchanalia I' amplifies the raw percussive energy while adding his signature touch of spaced-out echoes androlling rhythms bringing the release full circle.

Mad Cannabeatz and Tuse have taken things to the next level. In addition to collaborating with MC Sabot and Cheeba, they’ve brought on board some incredible talent, including IDA World Champion DJ Ride (Portugal) and DJ Damndanny (Philippines).

The album's flagship track is the official anthem of the 2024 IDA World Finals, adding to its prestige and impact.

The project also boasts guest appearances from an impressive lineup of artists: DJ Pac1, DJ Falcon 1, DJ Steez, DJ LAB (Fat Ape), PZG, and JWP.
Mix & Master: Audio Aminals (London).

Adding to the artistic flair, the vinyl cover was masterfully designed by Riam One and Tuse.

Peter sitzt mit Kelly im Park, als ihm mulmig zumute wird. Irgendetwas stimmt hier nicht: Bobachtet die Statue des Dreiäugigen Schakals sie etwa? Die beiden nehmen die Bronzefigur genauer unter die Lupe, als plötzlich etwas geschieht, mit dem niemand gerechnet hat! Peter und Kelly verlassen vor lauter Schreck fluchtartig den Park. Die Statue mit dem Schakalkopf hat eindeutig ein dunkles Geheimnis. Was verbirgt sich hinter der kalten Hülle? Justus und Bob stehen ihrem Freund zur Seite - die drei ??? beginnen ihre Recherche. Trackpunkte:01 Das blanke Entsetzen! 02 Die Spur des Pick-ups 03 Rapper 04 Ein wahrer Freund 05 Fall gelöst? 06 Eine dunkle Nacht 07 Der Schlüssel zu allem Buchautor: Ben NevisSkriptautor: André MinningerSprecher:innen & Mitwirkende:Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichKelly Juliane SzalayKommissarin Merryweather Anne MollNina Radamus Astrid Kollex Luke Kingsbury Mars Saibert Jana Anika Baumann Ryan Ford Michael Grimm Constantin Krueger Martin May Mick Manson Patrick BachOnkel Titus Erik SchäfflerTravis Fabian Harloff Breezy Sonja Stein Big Rock Patrick Baehr Joe Jürgen Holdorf Hank Fabian Müller Wächter Achim SchülkeBankangestellter Martin Rowedder Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Andris Zeiberts, Detlef Oels, Bert Brac, Fabian Harloff, Nathaniel SteinbrecherCover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. © 2024. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Peter sitzt mit Kelly im Park, als ihm mulmig zumute wird. Irgendetwas stimmt hier nicht: Bobachtet die Statue des Dreiäugigen Schakals sie etwa? Die beiden nehmen die Bronzefigur genauer unter die Lupe, als plötzlich etwas geschieht, mit dem niemand gerechnet hat! Peter und Kelly verlassen vor lauter Schreck fluchtartig den Park. Die Statue mit dem Schakalkopf hat eindeutig ein dunkles Geheimnis. Was verbirgt sich hinter der kalten Hülle? Justus und Bob stehen ihrem Freund zur Seite - die drei ??? beginnen ihre Recherche. Buchautor: Ben NevisSkriptautor: André MinningerSprecher:innen & Mitwirkende:Erzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichKelly Juliane SzalayKommissarin Merryweather Anne MollNina Radamus Astrid Kollex Luke Kingsbury Mars Saibert Jana Anika Baumann Ryan Ford Michael Grimm Constantin Krueger Martin May Mick Manson Patrick BachOnkel Titus Erik SchäfflerTravis Fabian Harloff Breezy Sonja Stein Big Rock Patrick Baehr Joe Jürgen Holdorf Hank Fabian Müller Wächter Achim SchülkeBankangestellter Martin Rowedder Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Andris Zeiberts, Detlef Oels, Bert Brac, Fabian Harloff, Nathaniel SteinbrecherCover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Ben Nevis, erschienen im Kosmos Verlag, Stuttgart. © 2024. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

Hey guys,

At the end of last year, we celebrated the release of Jo “Schlammpeitziger” Zimmermann's brand new album “Meine Unterkunft ist die Unvernunft” on his 60th birthday at Kompakt Recordstore. Now we are delighted to present the accompanying remixes. An illustrious group of long-time companions has come together to pay tribute to the master of electronic eccentricity with remixes. Schlammpeitziger says thank you in his own way by immortalizing all the contributors with finely selected photos, hand-decorated on the cover.

Hey Leute,

Ende letzten Jahres haben wir die Veröffentlichung des brandneuen Albums "Meine Unterkunft ist die Unvernunft" von Jo "Schlammpeitziger" Zimmermann, zu seinem 60sten Geburtstag, groß im Kompakt Plattenladen gefeiert. Nun freuen wir uns, die dazugehörigen Remixe vorstellen zu dürfen. Ein illustrer Reigen langjähriger Weggefährt*Innen hat sich zusammengefunden, um dem Meister der elektronischen Verschrobenheit, die Remix-Ehre zu erweisen. Schlammpeitziger bedankt sich auf seine Art, indem er alle Mitwirkenden mit fein ausgesuchten Fotos, handverziert auf dem Cover verewigt.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie

In 2019, Resistencia Sonora was launched as a collaborative project where urban resistances and ethnic-peasant rural resistances converge in the greater area of Montes de Maria, situated in Colombia's western Caribbean region. This initiative originates in one of the musical epicenters of ancestral sounds that have fostered a now global recognition for styles such as gaita, cumbia, bullerengue, son palenque and son de negro, as well as Sabanero accordion music like porros and pajaritos.

The aim of this extensive project has been to serve as a rare living archive of festive gatherings, conversations, knowledge exchange, and co-creative processes that have spawned specifically from the municipality of Ovejas, which sits in the Sucre Department of Montes de Maria. Resistencia Sonora's documentation in Ovejas is more than just a musical recording, rather an all-encompassing snapshot of a very real folkloric life within neighborhoods such as El Bolsillo, El Corea and La Ciudadela. The initial inspiration of the project can be credited to a specific call to arms from composer Andrés Narváez, who expressed the dream to record his own original compositions set amongst this region's local history. Andrés, like many leaders from the old sabanas beyond Montes de Maria, is a social leader and land-rights activist. He proposed not only to record his songs but also to invite other musicians and composers to take part in this documentation, an extended hand to uphold the legacies, knowledge, and traditions of the region's elders.

All songs recorded between 2022-23 on location in Ovejas and Bogotá, Colombia. Mixed in Brooklyn by Names You Can Trust and mastered by Frank Meritt at The Carvery, London. Limited Edition 250 vinyl press with included 12-page booklet and liner notes in English and Spanish.

Andrew Hill’s 1968 album Grass Roots stands as one of the most immediately accessible albums in the pianist’s beguiling Blue Note discography. Featuring Lee Morgan, Booker Ervin, Ron Carter, and Freddie Waits, this set of five Hill originals is imbued with a deep sense of feeling, groove, and lyricism. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

The intrepid composer and field recordist Jacob Kirkegaard is no stranger to perilous and hostile regions of the world. His 4 Rooms invoked the radioactive decay through the amplification of architectural resonance in Chernobyl, Ukraine; and he has ventured to the arctic environments of Greenland on a number of occasions to document that barren, icy territory. His recurrent use of shadow and mystery through his work both as metaphor and as extended sonic technique reflects the complex, existential conditions that cross-contaminate what we consider civilization and what we consider wilderness. Waste disposal, firearms, the decomposition of dead bodies, the eerie stillness of morgues. These have also been the source material in Kirkegaard's formidable work.

With Snowblind, Kirkegaard turns to history, and a poetic, failed attempt for a team of Swedish explorers to reach the North Pole by balloon in the late 19th Century. Perhaps driven by blind adventurism, perhaps consumed by his own delusions, S.A. Andrée launched this ill-fated flight in July 1897, registering only two days in the air before crashing into the ice and ultimately failing to navigate the frigid waters and ice floes. Yet documentation of their expedition - photographic, scientific, and diaristic - survived, to be discovered some thirty years after their deaths.

"I wanted to created a cold and hostile album, where there is no escape, no warmth and no happy ending," as Kirkegaard explains about Snowblind. "Yet, I wanted to leave out any immediate drama. It is the creeping shock, the icy feeling from realizing what has been lost and that there's no escape."

Yes, Snowblind is a very bleak album, but one that eschews the isolationist, long-form drone of conceptually similar works by Thomas Köner, Lustmord, Werkbund, and Lull with interconnected constellations of cryptic tone, thrumming reverberation, arctic bluster, and a plethora of harrowing sonic proclamations.

Stick To Your Guns hold a mirror up to society’s ills without blurring its ugliness. In an attempt to unapologetically trumpet real change, the Southern California quintet—Jesse Barnett vocals,Andrew Rose [bass],Adam Galindo[drums], Chris Rawson [guitar], and Josh James [guitar]—never shy away from speaking or screaming unpopular truths from the purest place. Founded in2003, Stick To Your Guns have always written and performed with a sense of urgency, their socially conscious message hitting as hard as their signature hybrid of hardcore, punk, and metal. Over the course of their career, they’ve amassed over 50 million total streams, performed on four continents, and shared stages with the likes of Parkway Drive, Architects, and Every Time I Die. Most recently, Alternative Press praised 2017’s True View as “the result of a long time spent on self-reflection and realization.” The band’s latest release ‘Invisible Rain’ incorporates two new songs that remain quintessentially Stick To Your Guns while incorporating fresh elements. The band’s relentless pursuit of a better world and their critique of societal injustices continues to drive their music and message. In 2024, Stick To Your Guns signed with SharpTone Records, marking a new chapter in their storied career. This partnership promises to bring their potent blend of activism and music to an even broader audience, amplifying their call for change and social justice.

The Acidboychair music project started in the early noughties as a commentary on what journalist Simon Reynolds would summarise a few years later as Retromania. Initially conceived by Thomas Baldischwyler and Andreas Diefenbach as a performative revival travesty with large-format drum computers and synthesizers reconstructed from cardboard, everything took a surprising turn when DJ Mooner (the man behind the now defunct Munich music label Erkrankung Durch Musique) took an interest in the adventurous audio material produced by Baldischwyler. In 2005, the LP 1987 (EDM1016), produced almost exclusively with long-forgotten software (SoundEdit 16, RB-338, etc.), was released on Mooner's label. As a result of the growing number of bookings, Baldischwyler had to think about improving the performability of his intentionally amateurish productions. Fortunately, the Ableton Live programme became a DAW with a MIDI sequencer and support for VST plug-ins as early as 2004 - and this made it easier for him to execute his intuitive, error-friendly version of acid house. This can be heard on the first two sample-heavy tracks on the A-side of Come Down Easy, which were recorded in 2005 and 2006 respectively at Acidboychair gigs at Hamburg's Golden Pudel Club and Munich's Registratur. The first two tracks on the B-side (produced sometime between 2006 and 2008) were actually supposed to be part of a solo release on the Acido label run by Dynamo Dreesen, but this never materialised. However, the final tracks and the 133.3 BPM lock grooves that follow are the title and central to this catalogue number TBG123: Through ethno-musicologist Arthur Boto Conley, who had already released a one-sided 12 on his label with material from one of Baldischwyler's audio installations, he met Florian Meyer (Don't DJ) and Marc Matter (Spoken Matter), who introduced him to their collaborative project Institut F?r Feinmotorik (IFFM). Baldischwyler's attempt to approach the sound aesthetics of IFFM led to the tape 60 Minutes Of Barely Modified Lock Grooves (TCCC06), recorded in Rome in 2018. A buyer of this tape introduced him to the Detroit collective Pure Rave, which he immediately contacted and introduced to the work of the IFFM. It was important for Baldischwyler to have an analogue update made and so both the Detroiters and IFFM, who now live in Berlin, were given 8 copies of EDM1016's backstock to remix the material in their own way. At their jam in Detroit, Pure Rave opted for the almost identical material that IFFM had also used for a live performance in the Hamburg project space Beek. The dominant jumps in both arrangements come from the track Eightyseven, produced in the early 2000s for the LP 1987, an awkward remix of the Spacemen 3 track Come Down Easy, which is also referred to in the liner notes on the inner sleeve of TBG123. The almost two-decade-old revival idea thus turns into false memory syndrome and runs into a - in keeping with our times - clean-cut (endless) groove. Kassem Mosse (The KM of MM/KM) on Come Down Easy after a first listening session: I think it all works very well as a mix, no matter where you start it carries you further forward back in the loop. if I understand the liner notes correctly, it's about the music's turn from tradition preservation (doing everything right) to ecstatic delusion (not doing everything right when intoxicated). Now that I'm reading again instead of listening, the titles give me a different understanding of the connections; how the skipping belongs together, which playtime is connected. Now I can name my favourites. Thank you for the journey!

"Atria" is an exceptionally deep, easy-to-play-on-repeat work from Denver-based FOANS, a continuity of heartbreaking melodic interludes and nostalgic, otherworldly softness. Originally self-released in 2014, "Atria", comprised of 9 tracks simply titled "Diorama", is a plunge into dubby textures, meditative rhythmic cadence, lamenting chords, and shimmering neon pads. While growing to become a household name, especially for fans of 100% SILK and the now sadly defunct Danish label Speaker Footage, FOANS has offered numerous beloved releases over the last decade, showing listeners who stumble across his artistic microcosm that he has his own trademark sound, one that is often very recognizable even in a crowded space; a remnant from his early years as a bedroom producer, Atria shows us that FOANS’ sound has always shimmered, has always moved through heavy emotions and uneasy silliness. It will likely continue to do so for years to come.

Perfect Location Records is honored to commit this stunning work to vinyl for the first time, with a digital remaster for digital collectors as well. The record will be packaged in a black die-cut jacket and include a download code along with a small matte print of the acrylic-on-canvas cover art by painter Andrea Willems.

Limited run of 200 physical copies.

Fünf Kultalben als Vinylboxset -alle LPs mit bedrucktem Inlay und speziellen Vinylmastering -Heavy Metal aus Deutschland, aus den „goldenen Achtzigern“ - Death Warrant und Exploder sind heute im Original nicht unter 100 Euro zu bekommen Die Achtzigerjahre gelten als die innovative Hochphase des Heavy Metal und während England die New Wave Of British Heavy Metal auf den Weg brachte, bauten die deutschen Bands auf die ersten Helden wie Scorpions oder Accept auf.

DEATH WARRANT und CUTTY SARK waren frühe Bands in diesem Segment und liefern auf ihren Alben diese nicht wiederholbare Aufbruchstimmung. EXPLODER, SUDDEN DEATH und MYSTERY veröffentlichten ihre LPs in der zweiten Hälfte der Achtziger und zeigen, wie divers, aber auch gefestigt der „German Metal“ hier bereits war. Die fünf Schallplatten kommen im vollen Golden Core-Umfang: Mit bedrucktem Einleger und mit einem speziellen Mastering. Zudem wurden alle Alben von Andreas „Neudi“ Neuderth sorgfältig remastert.

Als Einzelveröffentlichungen haben die LPs in den relevanten Magazinen durchweg sehr gute Kritiken bekommen. Über Exploder gab es zudem ein Feature im Deaf Forever.

*2LP ON WARP IN GATEFOLD SLEEVE WITH PRINTED INNERSLEEVES
*INCLUDES DOWNLOAD CODE

Iconic Warp mainstay Nightmares on Wax can now announce his long-anticipated return with new album Shape The Future. The marriage of soul, hip-hop, dub and timeless club sounds that N.O.W. has been mutating and perfecting for years finds perhaps its most fluid form yet on Shape The Future. Energized by globetrotting runs of studio sessions and DJ sets, this latest salvo is a masterpiece of contemporary and classic genre-blending that solidifies Nightmares On Wax's place as an inspirational electronic music figurehead.

Features guest vocals from Jordan Rakei (Ninja Tune), Mozez, Kanye West and Flume collaborator Allan Kingdom, Andrew Ashong, Kuauhtli Vasquez & Wixarika Tribe and Sadie Walker.

Bienvenue Recordings is back on wax with two originals and a deep driving remix from the home base. We are delighted to present Gratts ‘The Lifestyle EP’ via the label, a high quality addition to his plentiful repertoire of dance delights.

Gene Tellem met Gratts in the South Australian city of Adelaide in 2022 while visiting family and touring the country for some gigs. Gratts, originally from Belgium, also finds himself in the sun for similar reasons. Being from two different French speaking parts of the world, able to communicate in a familiar way but in a whole new place really laid down the vibe for this release. Songs as much for the radio as the club, for a cold wintry night or on the shores of an Australian sunset.

'Sunsets (FBI Mix)' is Gratts & Biancolato's tribute to Sydney veteran DJ Simon Caldwell's long running 'Sunsets' radio show on FBI Radio. Gratts and Caldwell DJ'ed together in Sydney on various occasions, whereas Biancolato is a veteran Melbourne DJ and producer. The track was inspired by the dubby West-Coast deep house sound from the turn of the millennium. Adelaide's Lesley Williams provides the vocal mantra.

'Sundays With U (Neapolitan Mix)' is a jazzy and percussive venture, loosely inspired by the West London bruk sound and Charles Webster. Andreas Poppelbaum, Gratts' studio neighbour in Berlin can be heard on soprano sax. The lyrics are performed by Italian friend Ambra, who delivers them in the Neapolitan dialect.

'Sundays With U (GT Remix)’ is Gene Tellem pulling at all the elements that make the original a scorcher, stretching it out, turning the stomp up, and offering a version for a deep dance floor moment. The voice, sax, atmosphere with the snap on the one. One moment it starts, and soon you won’t know how long it’s been that your eyes are closed, body moving through the room.

ÄÆ Sound is a new mysterious and futuristic silver dark project hailing from Milan produced and developed by Andrea Lazzari, a miscellaneous italian artist. ÄÆ, dropping a super groovy first track with a heavy kick, bass variations, and killer melodies perfect for the dance floor. The second track brings darker vibes, break techno variations, and well-crafted silver dark underground shapes. For the flip side of the record, ÄÆ for his very first EP launch developed two B Side tracks. The first one hits you with some UK groovy bass variations and hypnotic synths, plus some slick drum work and background melodies. The second one is a tool uk drum n bass track with a dark and futuristic sound.

Ashram Sun’, Surya Botofasina's much-anticipated album follows his hugely acclaimed debut ‘Everyone’s Children’ and his first offering since his contribution to ‘New Blue Sun’ and global touring alongside André 3000. It is an ode to Surya’s upbringing and musical teachings in the tradition of Swamini Turiyasangitananda - aka Alice Coltrane, by the spiritual jazz colossus Herself, at Her Sai Anantam Ashram in California. ‘Ashram Sun’ is a deep listening, spiritual masterpiece with close collaborators Carlos Niño and Nate Mercereau, and is produced by the prolific Carlos Niño, whose vision has become a pivotal point for contemporary progressive jazz music.

Ashram Sun features appearances from musical luminaries, including multi-instrumentalist Angel Bat Dawid, Los Angeles saxophonist Randal Fisher, vocalist Mia Doi Todd, as well as collaborations with vocalist MidnightRoba and acclaimed harpist and vocalist Radha Botofasina, among others. The album continues to expand on and conversate with the innovative spiritual-jazz configurations of recent works by Shabaka Hutchings, André 3000 and Carlos Niño —all of which Surya plays on. This evolution follows from his debut album ‘Everyone’s Children’, also produced by Niño, which was one of the earliest offerings of this fresh, spiritual approach. As the keyboardist on André 3000’s New Blue Sun and an integral member of André’s touring group, Surya has already directly brought the legacy of Alice Coltrane/Turiyasangitananda into this rich new current in creative music.

The music on Ashram Sun is tuned into these wavelengths, consolidating a new jazz lineage with energies directly from the source. The album blends improvisation in the creative music tradition with washes of cleanly spiritualised keyboard work, atmospheric percussion, and sanctified vocalisation. As Surya Botofasina explains, "Swamini (Alice Coltrane) and the Ashram have taught me that the only place worth going to, is within… I am always going to be an Ashram Sun."

Limited edition pressing - 50 copies come with one page insert. Download code included.

The album Sonic Mystics for Poems (of Life and Death of a Phoenix) by Andrea Burelli is a work that masterfully blends traditional musical languages with the formal and conceptual sensibilities of contemporary music. It offers a profound reflection on the life-death-life cycle, centered on poetic texts that oscillate between human-sensitive experience and the mythical journey of a phoenix, a metaphor of this circular and infinite reality.

The work, which includes a collaboration with musicians from the renowned Solistenensemble Kaleidoskop, stands out for its clear influence from classical Western music and modal traditions, as well as experimental electronics. Composed for voices, strings, synthesizers, and drum machines, this music features a minimalist tapestry of polyphonies, enhanced by sophisticated electronic elements and a diverse array of rhythmic articulations.

Field Notes describes Andrea Burelli as a versatile artist capable of embodying a multitude of roles, from poet to composer, musician, and singer, emphasizing how her work reflects this versatility by ¨combining elements of art song, contemporary music, pop, and electronic sounds.¨ According to Groove Magazine, this LP evokes neoclassical chamber music and an imagined Italian folklore, aligning with contemporary explorations of modern vocal abstractions, similar to the work of artists like Marina Herlop, stating that: “This is how the new and the good emerge.”

Furthermore, the music has received positive feedback from internationally acclaimed artists such as Rashad Becker, who, in addition to being the mastering engineer of the project, describes it as "pure and honest"; James Young of Darkstar calls it "bold and innovative"; while Eartheater (PAN), Rabih Beaini, and Gigi Masin have praised it as "beautiful."

Andrew Bird und Madison Cunningham taten sich zusammen, um ein Coveralbum des Kultklassikers Buckingham Nicks aus dem Jahr 1973 zu veröffentlichen. Das Album erscheint am 13.12. über Loma Vista
Recordings / Verve Forecast. Mit Cunningham Bird ehren die beiden engen Freunde und virtuosen Musiker
ein Album, in die sie sich immer mehr verliebten, je mehr sie zuhörten, lernten und sich zu eigen machten.
Das gleichnamige Debüt von Lindsey Buckingham und Stevie Nicks war lange vergriffen und immer noch
nicht auf digitalen Plattformen erhältlich. Es ging der unverzichtbaren Karriere des Duos mit Fleetwood
Mac voraus, und in diesen Songs interpretieren Cunningham und Bird diese Energie der unbegrenzten
Möglichkeiten neu. Cunningham und Bird verkörpern den gleichen Geist des Selbstbewusstseins wie auf
dem Debüt, bringen aber auch eine anspruchsvolle Ehrfurcht vor dem jugendlichen Ehrgeiz der Musik mit
und verwandeln das zeitlose Werk in etwas Neues. Während die Abfolge der Stücke exakt gleich bleibt, ist
der Sound von Cunningham Bird nicht unverändert. Produziert von Mike Viola, sind nur Griffn Goldsmith
an Schlagzeug und Perkussion, Mike Viola an Wurlitzer, Bass und Schlagzeug und die vielen subtilen,
einzigartigen Klangsignaturen von Madison und Andrew zu hören.

For Fans Of... 60's and 70's French Noir Scene / Black and White film photography, The Rugged Nuggets, Dirty Art Club, Massive Attack, Misha Panfilov, The Ironsides, Doctor Bionic, Blockhead, DJ Shadow, Sven Wunder. First Salvator Dragatto full length LP to be released on Colemine. All members of The Rugged Nuggets (205k monthly listeners / 8.4k followers on Spotify) played on this LP. 60's French Noir Cinematic Soul. Produced by Joey Reina. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli. Artist has previously released three successful 45s. Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto’s debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli, who’s works have impacted Dragatto’s world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery

Celebrating two decades of excellence, Marc Romboy’s Systematic Recordings marks its 20th anniversary with a remarkable triple 12” vinyl release. Featuring an all-star lineup, this collection showcases the imprint’s legacy while pushing the boundaries of electronic music. Kicking off the compilation is none other than Carl Cox with “Ice,” an unexpected electro masterpiece. Combining warm strings and lush chords with a powerful 808-driven beat, the track transports you straight to the golden era of 1984.

Label founder Marc Romboy collaborates with André Winter on “Blackout,” a cutting-edge techno journey packed with innovative and otherworldly soundscapes. Systematic veterans Gui Boratto and Rodriguez Jr. bring their signature touch, while current tastemakers Bawrut, Ivory, and Skatman deliver tracks that resonate with today’s audience. To top it off, acid and house legend Josh Wink contributes “Clark Park,” a standout piece that reinforces his reputation as a true pioneer. This exclusive anniversary release is strictly limited, so don’t miss your chance to own a piece of Systematic history!

Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK. At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St. Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino. They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.

Next Polyamore Recs release comes from Capofortuna – brothers Riccardo Cardelli (Funk Rimini) & Francesco Cardelli, and Davide Santandrea (Rame, Pastaboys) – the instrumental funk-jazz trio renowned for their ground-breaking productions and musical soundscapes. Here the Italian trio unveil a fusion of sounds with some heart felt nostalgia on their ‘Punti Di Vista EP’. In true Capofortuna style, this uber classy record pushes boundaries and is a further testament to the band’s constant evolution and commitment to musical innovation, all recorded at their boutique studio in Rimini.

The title cut is a collaboration between Capofortuna and producer Andrea ‘Neve’ Recla, highlighting their experiments with a Casio CZ3000 synth, adding a more futuristic electronic dimension. On ‘Venusian’ you will hear plenty of the Moog Rogue and the Roland JX3P, both machines together paying homage to Rimini’s vibrant arcade culture of the 90s. ‘Pianobar’ takes inspiration from the same musical moments of the 90s, adding melancholic trumpet flourishes played by Jacopo Buda. ‘Acid Basico’ nods its head to the darker sounds of Italo disco and Chicago house, seamlessly blending dub elements to create a genre-defying experience. Reflecting the trio’s shared musical heritage, ‘Punti Di Vista’ showcases Capofortuna’s ability to transcend genres at the same time staying true to their Italo-funk Rimini roots.

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto's debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of Andre' Kerte'sz, Robert Frank, Jean-Luc Godard and Rene' Groebli, who's works have impacted Dragatto's world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto's debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. Opaque Natural Vinyl. This record is an homage to the likes of Andre' Kerte'sz, Robert Frank, Jean-Luc Godard and Rene' Groebli, who's works have impacted Dragatto's world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

Wenn Dean Martin den Schöpfer dazu auffordert, es schneien zu lassen ("Let It Snow! Let It Snow! Let It Snow!"), Paul Anka weiß, dass nun überall Weihnachten ist ("It"s Christmas Everywhere"), Harry Belafonte Glöckchen vernimmt ("I Heard The Bells On Christmas Day"), Frank Sinatra die Heilige Nacht beschwört ("Silent Night") sowie Bing Crosby & The Andrew Sisters beobachten, wie der Nikolaus in die Stadt kommt ("Santa Claus Is Coming To Town"), nähern wir uns nicht nur dem 24. Dezember, vor allem hat dann die Stunde der Crooner geschlagen. Mit ihren schmelzend-beschwingten Swing-, Soul- und Gospel-Interpretationen bekannter Weihnachtstitel sorgen sie auf der LP-Kompilation "Noël Crooners" auf unterhaltsame Weise dafür, dass die Stimmung nicht ins Rührselige abdriftet, und dennoch eine besinnliche Note bewahrt bleibt. Das gilt auch für weitere Titel wie "Wade In The Water" (Sam Cooke), "Christmas In New Orleans" (Louis Armstrong), "Blue Christmas" (Elvis Presley) oder "The Snow Is Falling" (Ray Charles).

RSD 2024

First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.

Andrew Macari's next offering comes on the small but already well-formed Vessel Recordings label and it delves into some super deep house sounds. 'U Hold Me Tight' is a shuffling, gently percussive number with swaying drums and the sort of groove to lock you in. 'Don't Make Me Wait' is a slower groove with drums that drag their heels in an intriguing way then 'Hana's Jazz Cafe' gets more funky with some playful swing. 'Curiously' shuts down with a nice raw and dusty sound topped with some freaky vocals.

Horrible Occurrences is the title of the new Advance Base album, and there is truth in advertising. In these songs_all centered around a fictional town called Richmond and featuring an interlinked cast of characters_you will hear stories of death and disappearance, climactic confrontations and unsolved mysteries. "Richmond is just this place where all the bad memories live," Owen Ashworth explains, and nearly 30 years into his songwriting career, none of his records have packed quite the emotional intensity of this one. And yet something alchemical happens in the telling of these tales. Like a masterful short story collection, Horrible Occurrences is inspiring and alive, idiosyncratic and electric, pulling you closer with each word. In the six years since his last full-length collection of originals, 2018's Animal Companionship, Ashworth gathered ideas from performing live and traveling around the country, returning to cities that he once called home and revisiting old ghosts, memories, and fragments of unfinished ideas. Blending truth and fiction into a dreamlike composite, the songs convey the winding path our memory takes as the years go by, giving voice to a subconscious that is still unpacking old memories for new wisdom. Drawing inspiration from the otherworldly loneliness depicted on '80s masterpieces like Arthur Russell's World of Echo and Bruce Springsteen's Nebraska, the music never crowds Ashworth's detailed storytelling but it also never feels auxiliary. These are beautiful songs, but they stick with you for their ability to strike dissonant, unforgettable emotional chords. It is this pervasive empathy in Ashworth's songwriting_along with his writerly gift for clear settings and complex characters_that has made him a guiding light for so many independent artists. The things that happen throughout Horrible Occurrences are what we tend to call "unspeakable"_events that draw gut-level responses just from acknowledging that they could happen. But part of the triumph of the record is how simply and generously Ashworth finds the language to share them. For the characters in these songs who make it out okay, these are the types of memories they will be tossing and turning their whole lives, waiting for quiet moments to confide them among the people they trust. For the rest of us, they are signs of life along the highway on a dark, snowy night: reminders that, as isolated as we may feel, we are not alone on the road.

Andrew Hozier-Byrne, besser bekannt als HOZIER, veröffentlicht sein drittes Album ”Unreal Unearth”.

Die Hintergrundgeschichte von ”Unreal Unearth” ist vielschichtig, sowohl von italienischer Dichtkunst als auch griechischer Mythologie geprägt und verteilt sich über alle Albumtracks.

Mit mehr als 20 Mrd. Streams und 30 Mio. monatlichen Hörern ist der Ire einer der führenden Künstler des Genres Folk-Singer Songwriter in der Streaming Welt.

Sein Durchbruch gelang Hozier 2013, mit seiner kürzlich mit dem Diamond Award, für über 1 Millionen verkaufter Units, ausgezeichneten Hymne, „Take Me To Church“. Mit ihr stellte er seinen globalen Erfolg auf ein festes Fundament, es folgten Gold- und Platin-Auszeichnungen für seine ersten beiden Alben, eine GRAMMY-Nominierung, sowie diverse weitere Auszeichnungen.

Im Juli dieses Jahres war Hozier auf Europatour und wird im Dezember für zwei weitere Shows erneut nach Deutschland kommen.

Waxwork Records is proud to present BARBIE Score From The Original Motion Picture Soundtrack composed by Mark Ronson and Andrew Wyatt! The score is featured in the juggernaut film Barbie, directed by Greta Gerwig and starring Margot Robbie and Ryan Gosling as Barbie and Ken.

On composing the score, Ronson says, “Greta’s Barbie overflows with emotion in a way that inspires us to no end, not just with harmony and melody but also textures, sonics and rhythms. Sometimes Greta wanted us to elicit tears, sometimes she wanted it to feel like a disco. Sometimes she loved the warmth of vintage analogue synthesizers, sometimes she wanted the richness of the orchestra. Often, she wanted both.

“The late nights and crazy hours we put into Barbie were all worth it to us, because we were so in love with this film. And we truly hope listening to our score from beginning to end will give others the same emotional, whimsical experience they had watching this magical film.”

The highly anticipated film score vividly brings Gerwig’s vision to life and adds the perfect layer to the film that immerses fans into the Barbie Universe.

Tracklist:Creation of Barbie , Pink ("Barbie" Opening Theme) *Lizzo Cover , Beach Off , Ken Thinks , Stairway to Weird Barbie , Thoughts of Death , Send Me Through the Portal , Ken Makes a Discovery , Bus Stop Billie *Billie Eilish Cover , Mattel , Meeting Ruth *Billie Eilish Cover , You Failed Me! , Alan vs Kens , Deprogramming , Warmth of Your Gaze , An Ending , I Don't Have an Ending , What Was I Made For? (Epilogue) *Billie Eilish Cover

Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.

Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!

Hello Everybody,

In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".

“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.

25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.

When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”

Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again.

Wolfgang Voigt, October 2024

And so to the facts:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

The intercontinental collaboration between the two long-standing Pop Ambient artists Leandro Fresco from Argentina and Thore Pfeiffer from Mainz is a regular part of the series. They open this year's anniversary edition with the usual filigree.

02. Pass Into Silence – Mirage

The Japanese artist Tetsuo Sakae aka Pass into Silence returns to Kompakt 20 years after his legendary album “Calm Like A Millpond”. A master of tones that are as fine as they are stoic and crystal clear.

03. Tamarma & Sebastian Mullaert – Follow Me

For the first time, the well-known Swedish producer and DJ Sebastian Mullaert will be performing on Pop Ambient in cooperation with the Georgian sound artist Tamara Davitashvili. Their piece “Follow Me” fits confidently into the intimate, familiar sound cosmos.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Sono Kollektiv is now a fixture on Pop Ambient, this time with Nathalie Brum. In particular, Luis Reich's characteristic flugelhorn always gives their sound that special jazzy touch.

05. Thore Pfeiffer – Phase Locked Loop 1

Thore Pfeiffer is a master of shimmering surfaces and hypnotically meandering loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

An old friend from New Zealand is back with spherical sounds. Andrew Thomas, in collaboration with Julia Parr, sprinkles finely placed piano tones into distant soundscapes and even more distant voices.

07. Segensklang – Artifacts of Synthesis

We are pleased that Segensklang will be there again this year after his brilliant Pop Ambient debut last year. Deep and beautiful.

08. Ümit Han – Im Delirium

The Cologne producer Ümit Han is back for the third time. While he has so far explored the more emotional, soundscape aspects of the Pop Ambient universe, this year's piece "Im Delirium" rises to a pulsating mountain of sound with pearly, clear, effervescent sound crystals.

09. Würden & Schäfer – Analysis Of Variance II

In their track Analysis Of Variance II, Max Würden and Lukas Schäfer embed a finely placed beat impulse in a soft bed of modulating soundscapes and pleasant psychedelic spaceyness.

10. Max Würden– Circles

Max Würden once again shows his special feeling for one of the core statements of the Pop Ambient style spectrum. The abstract chord and soundscape movement between formal construction and emotional touchability, which seems like “pop music” under the microscope.

11. Blank Gloss – Jennifer’s Convertible

The Californian guitar-ambient duo takes us into their sublimely beautiful sound cosmos with their usual aplomb. Maximum condensed transparency. Lightness - heavy as gold.

12. Hendrik Meyer – Grün War Die Klamm

Another new addition is Hendrik Meyer. The versatile musician, also known for his MYR project distributed by Kompakt, leads us with a glistening, beautiful “wall of sound” determination into the eternity of a sunset that is only ended by the following track. Filmy Music.

13. Triola – Zum Renngraben

Jörg Burger aka Triola combines his typical “handmade” impulses and accents with a multi-dimensional, digital sound scenario in a pleasantly smoky, blurred stonewashed aesthetic.

As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.

And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.

Hallo Leute,

In den vergangenen Jahren begannen die Anmoderationstexte zur Pop Ambient Kompilation-Reihe, die jedes Jahr als letzte Veröffentlichung vor der Weihnachtspause auf Kompakt erscheint, sinnigerweise immer mal wieder mit dem Satz “Alle Jahre wieder...".

„Alle Jahre wieder”, eine leise, fast unbemerkt zur Formel gewordene Maxime der Selbstverständlichkeit. Denn in diesem Jahr erscheint bereits die 25ste Ausgabe.

25 Jahre in zunehmend schnelllebigen Zeiten im noch schnelllebigeren Musikgeschäft, sind gerne mal eine nicht nur gefühlte Ewigkeit. Umso bemerkenswerter wie mir, als ewig Rastlosem und oft selbst von dieser Schnelllebigkeit Getriebenem, auf angenehme Weise fast entgangen ist wie sehr, in pop ambienten Zusammenhängen (gedacht), die Zeit im besten Sinne nicht (oder anders) vergeht.

Beim Kompilieren der 25sten Ausgabe wurde ich u.a. gefragt, wie es ist, dass ich das immer noch mache und ob ich ein Lieblingsstück hätte. Im Sinne des Zusammenbringens von allen Stücken habe ich kein Lieblingsstück, oder alle. Aber ich habe eine Lieblingsstelle, die ich dann gespielt habe. In dem Fall war es ein breit gesetzter Akkord in einen Tonartwechsel bei Minute 2:55 im Stück Circles von Max Würden. Ein Moment der Erhabenheit und Vertrautheit, der in diesem Moment den gesamten Pop Ambient Kosmos in sich trägt, der einfach nur wirkt und nichts erklärt - und ich habe gesagt: „...das ist der Grund, warum ich das immer noch mache...“

Pop Ambient ist Statement ohne Forderung. Ist Verheißung ohne Erwartung. Ist Weg ohne Ziel. Alle Jahre wieder.

Wolfgang Voigt, Oktober 2024

Und damit zu den Fakten:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

Die interkontinentale Kollaboration der beiden langjährigen Pop Ambient Stamm-Künstler Leandro Fresco aus Argentinien und Thore Pfeiffer aus Mainz, ist regelmäßiger Bestandteil der Serie. Gewohnt filigran eröffnen sie die diesjährige Jubiläumsausgabe.

02. Pass Into Silence – Mirage

Der japanische Künstler Tetsuo Sakae aka Pass into Silence meldet sich 20 Jahre nach seinem sagenhaften Album „Calm Like A Millpond“ auf Kompakt zurück. Ein Meister der ebenso feinen wie stoisch-glasklaren Töne.

03. Tamarma & Sebastian Mullaert – Follow Me

Zum ersten Mal gibt sich der bekannte, schwedische Produzent und DJ Sebastian Mullaert in Kooperation mit der georgischen Klangkünstlerin Tamara Davitashvili auf Pop Ambient die Ehre. Ihr Stück „Follow Me“ fügt sich souverän in den intim-vertrauten Klangkosmos ein.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Mittlerweile eine feste Größe auf Pop Ambient ist das Sono Kollektiv, diesmal mit Nathalie Brum. Insbesondere das charakteristische Flügelhorn von Luis Reich gibt ihrem Sound immer wieder diesen besonderen jazzigen Touch.

05. Thore Pfeiffer – Phase Locked Loop 1 Thore Pfeiffer ist ein Meister der flirrenden Flächen und hypnotisch mäandernden Loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

Ein alter Bekannter aus Neuseeland meldet sich mit sphärischen Klängen zurück. Andrew Thomas, in Kooperation mit Julia Parr, sprenkelt fein gesetzte Klaviertöne in weit entfernte Flächen und noch entferntere Stimmen.

07. Segensklang – Artifacts of Synthese

Wir freuen uns, dass auch Segensklang nach seinem fulminanten Pop Ambient Debut im letzten Jahr auch dieses Jahr wieder mit dabei ist. Deep and beautiful.

08. Ümit Han – Im Delirium

Zum dritten Mal dabei ist der Kölner Produzent Ümit Han. Hat er bisher eher die emotional-flächigen Aspekte des Pop Ambienten Universums ausgelotet, schwingt sich sein diesjähriges Stück „Im Delirium“ mit perlend-klaren, sprudelnden Soundkristallen zu einem pulsierenden Klanggebirge auf.

09. Würden & Schäfer – Analysis Of Variance II

Max Würden und Lukas Schäfer betten in ihrem Stück Analysis Of Variance II einen fein gesetzten Beat-Impuls in ein weiches Bett aus modulierenden Flächen und angenehmer psychedelischer Spaceyness.

10. Max Würden – Circles

Max Würden zeigt einmal mehr sein besonderes Gefühl für eine der Kernaussagen des Pop Ambient Stilspektrums. Die wie „Popmusik“ unter dem Mikroskop anmutende, abstrakte Akkord- und Flächenbewegung zwischen formaler Konstruktion und emotionaler Berührbarkeit.

11. Blank Gloss – Jennifer’s Convertible

Das kalifornische Gitarren-Ambient Duo entführt uns mit gewohnter Souveränität in ihren erhaben-schönen Soundkosmos. Maximal verdichtete Transparenz. Leichtigkeit - schwer wie Gold.

12. Hendrik Meyer – Grün War Die Klamm

Ein weiterer Neuzugang ist Hendrik Meyer. Der vielseitige Musiker, u.a. auch bekannt durch sein über Kompakt vertriebenes MYR Projekt, führt uns mit gleißend-schöner „wall of sound“ Entschlossenheit in die Ewigkeit eines nur vom nachfolgenden Stück beendeten Sonnenuntergang. Film(Musik)reif.

13. Triola – Zum Renngraben

Jörg Burger aka Triola kombiniert die für ihn typischen „handmade“ Impulse und Akzente mit mehrdimensionalem, digitalen Soundszenario in angenehm rauchig-verwischter Stonewashed Ästhetik.

Für den alles zusammenführenden, klanglichen Feinschliff sorgt, wie immer, das unverzichtbare, finale Mastering von Jörg Burger.

Und wie in jedem Jahr ist auch die 25ste Ausgabe natürlich in ein abstrakt-florales Zaubergebilde von Veronika Unland gehüllt. Die Anmut ihrer Bildsprache ist über die Jahre immer mehr mit der musikalischen Aura zu einer unverkennbaren magischen Symbiose verschmolzen.

Der Multi-Instrumentalist Nate Mercereau hat sein neues Album Excellent Traveler auf Third Man Records angekündigt. Das phantasievolle Album
besteht aus einer Vielzahl von Sounds, die Mercereau auf seinen Reisen, in seinem Alltag und bei seinen Studiosessions mit Künstlern wie André
3000, Shabaka Hutchings, Kamasi Washington, Carlos Niño und anderen aufgenommen hat.
Als kreativer Künstler an der Spitze des modernen Klangs setzt Mercereau gitarrengesteuerte Samples und Synthesizer ein, um eindringliche,
multidimensionale Landschaften zu schaffen, und lädt den Hörer ein, unendliche Räume der Möglichkeiten zu erkunden.

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink

Abschließender Teil 3 der NICHTS-Deluxe Reissue-Serie: Endlich gibt es das fast vergessene dritte Nichts-Album "Aus Dem Jenseits" von 1983 neu aufgelegt! Aufgrund von Umständen damals untergegangen und unerfolgreich, aber deshalb auch rar und zum Kult geworden. Enorm unterschätzt sowieso! NICHTS stellten sich 1983 neu auf und hauten mit Seite A der LP eine ungebrochene Reihe von sechs deutschsprachigen New Wave-Powerpop-Super-Hits raus, garniert mit den schon immer guten Postpunk-Texten von Sängerin Andrea Mothes. Deren Echos finden sich auch heute noch im aktuellen Gitarrenpop, New Wave oder der Neuen Neue Deutsche Welle. Mindestens Single "Venus Schenkt Dir Schöne Stunden (Horrorskop)" hätte ein NDW-Klassiker der besseren Sorte sein sollen. Seite 2 ist kaum schwächer. Nachdem die Band im Herbst 1982 nach zwei erfolgreichen Alben sowie den NDW-Hits "Radio" und "Tango 2000" ihre Tour beendet hatten, stiegen Gründungsmitglied und Gitarrist Meikel Clauss sowie Bassist Scarbeck aus. Doch Sängerin/Texterin Andrea Mothes und Schlagzeuger Tobias Brink waren noch nicht fertig mit NICHTS und spielten in neuer Besetzung das dritte Album "Aus Dem Jenseits" ein. Liveauftritt bei Mal Sondocks Pop Explosion, geplante Single-Auskoppelung und gebuchte Tour schienen den Erfolg fortführen zu können, doch es kam anders: Aufgrund einer Verletzung Brinks musste die Tour abgesagt werden, die Single wurde nicht weiter promotet, die Band löste sich alsbald auf und das Album wurde in der Folge zum Kultobjekt der Fans. Das von den ehemaligen Bandmitgliedern begeistert aufgenommene und abgenickte Remastering des Albums wurde in der Düsseldorfer Skyline-Tonfabrik von Kai Blankenberg gefertigt, dessen Dienste sonst u.a. von International Music, Boy, Madsen oder regelmäßig Udo Lindenberg in Anspruch genommen werden. Neben Bonustrack (Horrorskop 2024 Single Edit) gibt es auch wieder ein 16seitiges Booklet im CD-Format mit Fotos der Zeit und den Texten dabei! Farbige Vinyl-Versionen, klassisch schwarze LP sowie erstmals auf CD überhaupt erhältlich! Für Fans von Bärchen und die Milchbubis, Mia., Paula Carolina, Ideal/Neonbabies, Gwen Dolyn, Östro 430, frühe Extrabreit, späte Hans-A-Plast, Nils Keppel Nichts 1983 waren: Gesang - Andrea Mothes/Gitarre - Stephen Keusch/Bass - Peter Szimanneck/Schlagzeug - Tobias Brink