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Drumcode favourite Victor Ruiz joins forces with rising Irish artist Modeā for an inspiring meeting of styles. Modeā’s ‘Shine’ may have brought many a dancefloor to its knees last summer, but it wasn’t just ravers who were weeping glorious techno tears.

“Shine is one of the best electronic music records ever made,” Victor Ruiz states in emphatic fashion. The Brazilian producer, who has been industrious in recent months with the successful launch of his own label Volta, soon tapped the Donegal artist for a collaboration and the seeds for ‘Bloom’ had been sewn.

‘Contrast’ saw an inversion of their workflow. The final result sees the duo craft two shots of emotional techno with enough bottom-end might to power a range of peak-time dancefloor moments.

Repress!

First ever reissue of "A la memoria del muerto" (1972), Fruko y sus Tesos' second album, featuring the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka "Píper Pimienta". Produced by Fruko's uncle Mario "Pachanga" Rincón, the LP has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made. Unlike the first Tesos album, with a two-trumpet line-up and fairly simple arrangements, this more mature recording added another trumpet and two trombones for a more robust brass attack. Additionally, instead of basic salsa, there are many different rhythms - guaguancó, bomba, plena, oriza, bolero, cha-cha-chá, descarga and Latin soul. Includes the bonus track 'Tihuanaco' (a cover of Peruvian pianist Alfredito Linares), which appeared on the US edition of the LP. Presented in facsimile artwork and pressed on 180g vinyl.

Synthesizer king J.B. Banfi, a.k.a. Giuseppe 'Baffo' Banfi, hit the record market with the great italian prog rock outfit Biglietto per l'Inferno who released a legendary LP in 1974 on Trident and have been reivindicated in several occasions since with the release of lost recordings from the era as well as unearthing an unreleased 1974 live album. The band existed between 1972 and 1975, and had both Pilly Cossa on Hammond doing the virtuoso work and Baffo's keyboard explorations adding sound texture and atmosphere. Their second LP was recorded and mixes were to be produced by Klaus Schulze, but it remained unissued due to the Trident label flop. The band split shortly after this, but Baffo continued his experiments with electronic keyboards.

In 1978 Baffo released his first solo LP 'Galaxy My Dear', credited to J.B.Banfi and echoing huge influences from his friend and master Klaus Schulze, who would also produce his two next releases. A total DIY domestic home recording, with all the limitations implied but also with all its warmness within, 'Galaxy My Dear' is entirely played by Banfi and shows an accurate taste in his use of the synths, plus of course a strong kraut / cosmiche appeal that links the album's sound to that of the early Tangerine Dream or Ash Ra Tempel, but also brings a hint of Jean-Michel Jarre or even a certain reminiscence of the early electronic experiments by Franco Battiato and is a good contender to be filed along other Wah Wah reissues like those of Roberto Cacciapaglia or Franco Leprino.

Comes in original artwork with notes written by Baffo Banfi himself in a limited edition of 500 copies only.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes.

Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments – cello, piano and acoustic guitar – he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings.

Channelling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate’s childhood experiences of rural England.

“It was really important not to isolate the sound from its environment,” he explains, describing the compositional and recording process as “site-specific”. Developed over a series of intuitive musical enquiries, the mini-album’s uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur.

Heygate points to the final track as indicative of the work as a whole: “‘Follow’ really is the mantra for the release and embodies the practical approach I was taking to music making: not to force the music but see where it takes you.”

As a painter, Heygate’s practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Since obtaining a degree in Fine Art from Central Saint Martins in 2017, he has exhibited solo at Peter von Kant and Springseason galleries in London, and has participated in group shows at Saatchi Gallery, Cob Gallery and Senesi Contemporanea.

Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes’ striking artwork, which features paintings of 13th century stone carvings from the font of the church in the town where he grew up.

Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

“To add that one juxtaposition might open a whole new interpretation or language that might be hard to find otherwise,” he explains.“Over time it might reveal itself to you, which is why I'm excited about it being released. To throw them out there and see what comes of it.”

Chyskyyrai, whose real name is Valentina Romanova, comes from Yakutia (Republic of Sakha), the northernmost republic of Siberia.

She sings in a variety of traditional vocal techniques, drawing on folk songs, animal imitation but most of all on the ancient mythological epic Olonkho, which has a multitude of archaic delivery styles. Olonkho performance is a traveling one-man theatre and a solo improvisation. Traditionally, the Olonkho storytellers, olonkhosuts, travelled from community to community, tribe to tribe, and performed the same function as a shaman. Mostly they were regarded as spiritual guides, teachers and keepers of cultural values. Their performances could last for several days, and were not just entertainment but also the way of teaching that people are not separate from nature and attuned them to it.

The songs presented on this LP capture a period of her life when she met with Tim Hodgkinson (Henry Cow) and Ken Hyder (Talisker) who had been performing together since 1978, and are well-known for their explorations in the field of shamanic cultures and free jazz. Their collaboration with the “Soviet Jazz Federation” goes back many years until finally in 1990, the duo went on an extensive tour in Siberia as “The Shams” during which they also visited Yakutia. Since then they have made numerous trips to Tuva, Altai and Buryatia playing with the local musicians and studying shamanism.

Recorded in Ken Hyder’s basement, early May 2005. Sleeve artwork by Sophie Lécuyer.

Remastered Reissue des 1980er Klassikers 'My Beach' der 'verwöhnten Gören aus Malibu', den widerwärtigen und respektlosen Surf Punks. Ein Sommer-Soundtrack aus Surf-Rock, New Wave und SoCal-Punk, für Fans von Descendents, Ramones, Agent Orange und Devo. Streng limitierte Auflage auf 'Kook Juice' farbigem Vinyl im Hochglanzcover mit Redux-Artwork und farbiger Innenhülle, samt Faltposter mit Lyrics und Surfbegriffsglossar und einem Surfbrettaufkleber.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

For the third of Sonic Youth's sound experiment series, they teamed up with legendary nosie-nik Jim O'Rourke. Building on the ideas from the brilliant extended version of "The Diamond Sea" (from WASHING MACHINE); the series explores the (mostly) instrumental side of the band. Though sold as an EP, the three tracks on the CD version of clock in at just over 56 minutes, and can sit quite comfortably with any of SY's best work.

The title track opens the record with over 20 minutes of drenching feedback, saxophone tints, and cut-up television dialogue suggesting the soundtrack to a film-noir set in an industrial wasteland. The comparatively short (at 6 minutes) "Hungara Vivo" is the middle track of this extraordinarily strong trio and is the band's first true "ambient" soundscape: even the master himself, Brian Eno, might be a little envious. The closer, "Radio-Amatoroj," is a 29-minute mediation that structurally recalls "Hyperstation" from the seminal DAYDREAM NATION album. Though this record, and indeed the series to which it belongs, is not aimed at fans of the band's more pop-oriented material, as a whole, it is easily the best work they have done in years. All text written in Esperanto. Eye-fucking cover art.

Alex Wilcox drops an expansive eight-tracker for his debut on bbbbbb recors, ‘BANG BANG BANG!’

Alex is a distinctive and quirky DJ/producer and live artist whose unique take on electronic music has welcomed curiosity and intrigue from a wealth of leading talents within techno, electro and leftfield territories.

Fusing his own brand of eclectic club music with a self-described style of DJ sets that come as a ‘genre-less, chaotic whirlwind’, it’s no surprise that his next adventure finds a perfect home on Bjarki’s bbbbbb recors - a label known for entrancing, idiosyncratic future-focused output without limitations from distinctive talents across the globe.

“When I first approached Alex about releasing on bbbbbb, he reminded me, "I sent you those tracks years ago”. I regret overlooking them. That mistake won't happen again. I'm thrilled to include him in the bbbbbb narrative. His music exudes a punk essence and undeniable quality. Alex also has a playful side, which is refreshing. I've grown weary of the prevailing scene. The stereotypical, intense techno DJs are resurfacing, making it even more special to have Alex as part of our label's fresh lineup. His sound aligns seamlessly with the likes of Skrattar, Volruptus, and other artists, solidifying his place within our collective.” - Bjarki.

Entering into the bbbbbb universe stacked with an unconventional eight-track selection of chaotic, fun-fulled and eccentric records built for the dancefloor, through to sonics that could soundtrack even the most unhinged and peculiar of scenarios and situations, Wilcox’s ‘BANG BANG BANG!’ is an exhilarating, endorphin-induced, helter-skelter rush through styles and sounds - showcasing an oddball trip into his mind and welcoming a fun-filled yet impactful selection of productions undeniably at home on the label. As always with bbbbbb, expect the unexpected and enjoy the ride.

Alex Wilcox ‘BANG BANG BANG!’ drops via bbbbbb records on 27th October 2023.

File Under Balearic Gabba EP is the first in a new series of serious DJ tools that will encompass remixes, edits, originals and licenses, all with artwork that is a twist on the original Balearic Gabba logo by PlanetLuke. Up first is a new selection of music from core Hell Yeah artists that is unruly, impossible to define, and sure to twist dance floors inside out.

First up is Daniel Klein better known as SIRS, a Berlin-based mainstay with releases on the likes of Live At Robert Johnson. His cut of 'Super Rapido' is a dubbed-out blend of kosmiche chug and tropical percussion. Tumbling synth sequences bring extra colour as the groove builds over nine irresistible minutes.

Then comes Japanese downtempo master Calm with his Mellow Mellow Acid Dub of Sergio Messina & The Four Twenties's 'Sometimes' which is a nostalgic acid daydream and the perfect sunset soundtrack. Melancholic moods and lazy drums sink you in deep as the gentle acoustic guitars keep you afloat.

Label regular and Internasjonal and International Feel associate Feel Fly then comes through with an Estatico Danzante Remix of Pedro Bertho's 'Tornei' feat Mariana Gehring and takes us to the stars on twinkling keys, dusty breakbeats and steamy, worldly vocals that glow as warm as a setting sun.

Last of all is New York maestro and Loose Control Band member DJ Spun with his It's Rong Remix of My Friend Dario's 'Acid Mosquito in a Summer Night'. It finds him serving up a nine-minute excursion into jungle humidity with tribal percussion and jumbled bongos all run through with a spooky and primeval lead synth over lurching drum breaks.

The File Under Balearic Gabba EP brings a whole new dimension to wonky dance floor workouts.

For fans of Brian May, Slash, Zack Wylde, Classic Rock and Guitar Heroes! The Guitar Zeus 25th Anniversary 4LP/3CD set is a massive collection featuring the greatest guitar players ever including Slash, Brian May, Ted Nugent, Yngwie Malmsteem, Neal Schon, Richie Sambora, Zakk Wylde and many, many more. With 2 never released tracks featuring Tommy Thayer of KISS and Derek Sherinian (ex Dream Theater). This is the ultimate collection for any guitar enthusiast, there is nowhere else you can find this many guitar greats on one release! Curated by drum legend Carmine Appice who set the grooves for the groundbreaking psychedelic debut by Vanilla Fudge in 1967. Post-Fudge, Bogert and Appice formed Cactus (seen as an influence on King‘s X and Van Halen). Post-Cactus, the rhythm section found Grammy winning Guitar Hero Jeff Beck to form the first supergroup: Beck, Bogert & Appice (BBA). One of the premier showmen in rock, Appice became known worldwide for his astonishing live performances, in addition to becoming a highly sought-after session drummer, recording with countless artists throughout his career. In ‘76, he joined the Rod Stewart Band, touring, recording and writing two of Stewart‘s biggest hits, “Do Ya Think I‘m Sexy” and “Young Turks”. He would go on to form King Kobra, tour with Ozzy Osbourne and Blue Murder with John Sykes (Whitesnake) and Tony Franklin (The Firm)

Maria Callas is credited with changing the history of opera. Known as La Divina, she continues to fascinate as a supreme artist, but also as a woman and an icon of style. Her interpretations were as compelling for their dramatic truth as for their musical integrity. Her voice, with its extraordinary range, was as distinctive as her infallible sense for a phrase. A magnetic presence, she brought operatic heroines to vivid life, magically shaping and colouring her tone, and making insightful use of the text of the libretto.

The 45rpm double disc Audiophile Analog Collection features a variety of recordings from the world of movies, blues, percussion ensembles, world music and jazz. This is part of a special series of compilations of analog audiophile recordings at their best, with emphasis on execution and great sound.

The 2xHD Fusion Mastering System is an innovation in audio restoration for a virtual audio reality. In the constant evolution of its proprietary mastering process, 2xHD has progressed to a new phase called 2xHD Fusion, integrating the finest state-of-the-art analogue Nagra-T tape recorder modified with high-end tube playback technology, wired with OCC silver cable for better transparency and 3D imaging. 2xHD Vinyl are sourced from first generation analogue recordings without any digital corruption. The cutting is done at Bernie Grundman Mastering Lab on tube cutting equipment.

Overseas Warehouse Finds, these long deleted titles have found their way back home.. and now restocked for you!! 22 tracks culled / compiled from the three highly collectable tour CDR series: Time In Space (1, 2, and 3). A collection of studio outtakes, rehearsal sessions and live tracks to create your own cosmic adventures! Cut onto one double LP set by Shawn Joseph, with Sam Giles artwork. Bristol's The Heads have got back on the Live circuit this year after a 5 year hiatus, with extremely well received live sets at Roadburn, Liverpool Psych Fest and they just announced an appearance at Stewart Lee's ATP for 2016..

Since the 1970s Mario De Leo works as a musician and visual artist. His mechanical paintings are hybrid works that reveal the cosmic spiritualism hidden in the meanders of electronics. With Riccardo Sinigaglia (Futuro Antico, Correnti Magnetiche, Doubling Riders) De Leo consolidates an artistic and human partnership with Lettera Cosmica, a work unpublished to date, produced and recorded in 1981. In a wacky electronic vision of the succession of time, the tracks trace the four seasons in a fine process of analog loops, prepared tapes of strings and piano, time and pitch shifts, filtering with Synthi Ems and Teac 3340 4-track recorder. On this seemingly cold palette, De Leo deploys his own personal Mediterranean fingerpicking, with vocal timbres peculiar to the music of the South of Italy, but no longer circumscribed to the origins of his Pugliese regionalism, as much as to an expressive range seasoned also with irony and avant-garde.The sound writing harmonizes with the evocative cover, in which emerges a warmest human note of "technological peasant”.

Fresh out of Bournemouth Town the Phonomena crew are back and taking you Intergalactic with the second and final chapter of the Lazerdrome series, at least for the time being…

On the A Side, Renegade blasts you on a mission through the galaxy with Multiverse, creating a tough and futuristic track full of influences from the past. With layers of hard hitting beats and a nod to one of the biggest rave tracks from 1991, this one will hopefully be rocking dance floors from 2023 into beyond.

Flip to the AA and Rage teams up with legend of the scene EQ for a musical journey flying Supersonic with some euphoric strings before steadily building up to a tear out full of mentasms and heavyweight bass reminiscent of one of EQ’s most famous tracks from 1992.

Incoming on translucent purple wax all copies have been hand stamped by the artists.

Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

An archival release of this head-scratching 2010 recording made by
members of the freshly disintegrated Stars Like Fleas (called "NY's most
sublime and continuously undiscovered band" by PAPER Magazine): an
amalgam of private press new age, electro-acoustic improvisation, gothadjacent 80s DIY cassette culture, Italian prog rock, and community
choirs
From 2009-2011, Family Dynamics said what they had to say and then vanished,
their members separately going on to celebrated musical careers of their own.
The project emerged from the still smoldering ashes of volatile art- music
collective Stars Like Fleas, one of the earliest and most polarizing bands to define
the early aughts North Brooklyn music scene that produced Grizzly Bear, Dirty
Projectors, Animal Collective, TV On The Radio, Liars and others who went on to
enjoy broader appeal and success. Family Dynamics performed for barely two
years before unceremoniously vanishing, without any widely available record or
document. Whatever's Clever is thrilled to (re)issue this buried treasure, selfrecorded in a cabin in Woodstock, NY, at their creative peak, and never before
issued in physical format

Formed in 1999 by bassist Jim Barr and drummer Clive Deamer, best known as the rhythm section of seminal act Portishead, award-winning Bristolian jazz-rock disruptors Get The Blessing present their seventh studio album 'Pallet' Like most artists around the world, the pandemic forced the ensemble to rethink their creative processes. Born from a series of improvisations between Barr, Pete Judge on trumpet and Jake McMurchie on saxophone, the trio built up a rough portfolio of recordings which they then sent to Deamer, who added his drum parts at home in Oxfordshire. The result is nine minimalist compositions driven by groove, texture, electronics, and spontaneity. Built around the hypnotic loops that have become synonymous with their sound, 'Pallet' is an exploration of the nexus of improvisation and modern production. Grounded by thick, punchy bass lines and playful drum grooves, the record creates deep sonic spaces through the use of dizzying delays, squelching filtered loops and trails. The album's title owes much to the obtuse punning jazz musicians have enjoyed since the '50s; the song titles conjure up an imaginary colour chart with which the listener can fill in the paint-by-numbers image of a wooden pallet on the cover art

Following a four-year hiatus, Jamie has returned with his 6th album and most poignant and heartfelt work to date Chronicling the earliest years of fatherhood and a newfound creative energy, Little Weaknesses is a record that embraces brightness and brims with optimism for the future. Little Weaknesses is Jamie's return to music after a four-year break that saw the birth of his son in 2020."Originally, I had intended to take six months off when he came along. And then the pandemic hit, and I had what felt like three years off," he says. The time away instilled him with a desire to re-wire his creative process, following a period of immense career highs that included performances at Wembley Stadium and Croke Park, and tours with Ed Sheeran and James Blunt. Fatherhood brought a new sense of direction and meant any music he left his young family to play, perform or promote had to fulfil him completely. "Having that time settled me into a style of music that I wanted to make that I wasn't making," he shares. "Now, I would say this record is not that far away from the others, but it does feel much more cohesive. I remember listening to some playlists, like Lost In The Woods or Fresh Folk, and just thinking:'Oh, this is where I should be sitting. This is the music I love. This is the music I get the most out of.'It's all quite simple, but it's all quite beautiful. And there's proper lyrical content, something going on that makes me think about things. Those are the songs I wanted to write." Little Weaknesses is 14 tracks of concise, emotive, painterly beauty. It's a record that sees Jamie wholeheartedly embrace collaboration, working alongside a close- knit group of artists and friends, including multi- genre violinist Isabella Baker who arranged strings for six songs and songwriters Simon Aldred (aka Cherry Ghost) and Jack McManus. The entire album was crafted in Jamie's music room in his family residence in Manchester and recorded by producercollaborator Tim Ross at his home studio in Twickenham.

Echolocation is the astonishing debut album from Mendoza Hoff Revels,
an electric & formidable new unit led by Ava Mendoza (electric guitar,
compositions) &Devin Hoff (electric bass, compositions) and featuring
James Brandon Lewis(tenor sax) & Ches Smith (drums)
A super-group of our time, all profound creative artists in their own right, rocking
mightily together, in their prime. 21st Century progressive rock played by punk
rockers with serious improv skills & jazz feel. And non-stop wicked catchy tunes,
riffs & grooves.
Strong sonic references are The Stooges' Funhouse, rendered by a band readily
adept at rapidly swinging rhythmic & harmonic shifts, (plus tenor sax on every
track!) and also Minutemen, both their whole body of music & their fundamental
egalitarian punk ethos.

Konfus proudly welcomes Florian Meffert & Marc Philipp as ĀMAN to the artists family, as well as a new collaboration between the two friends and Subtil’s label head Nils Weimann as MEPHIWEI.
Three deep minimal house trips catching your body, mind & soul.
Perfect gadget from open air, to club, to after hour and back!
First 150x copies come in a handstamped full cover.

After a quarter-century hiatus, the legendary jungle artist M-Beat has resurfaced with Mekatune, his newly established label. Mekatune serves as a platform for unveiling not only his extensive back catalog but also fresh, innovative material from himself and other luminaries of the jungle music scene.

This exclusive boxset comprises five vinyl records, each elegantly housed in a black paper sleeve ensconced within a high-quality, 3mm-spined card housebag. Renowned DJ Mag designer Martin Brown has lent his artistic touch to each housebag, featuring a captivating montage of M-Beat's illustrious history spanning three decades. The reverse side of these housebags reveals an in-depth interview conducted by Dave Jenkins, delving into M-Beat's origins, his prolific career, and the enigmatic disappearance that kept fans in suspense for so long. The five housebags nestle snugly within a beautifully crafted card slipcase, forming a stunning piece of jungle and drum & bass history.

Moreover, each track in this boxset has undergone meticulous remastering by Dapz at Compound Audio and precision vinyl cutting by Beau at Ten Eight Seven Mastering, ensuring an unparalleled audio experience. These 20 handpicked gems represent the pinnacle of M-Beat's discography, each highly sought after and commanding a premium on Discogs. With a limited run of just 500 units, the majority of which have already been claimed through pre-sale, this is a rare opportunity to own a piece of music history. Once sold out, there are no plans for a repress, making it an essential addition for collectors and jungle music enthusiasts alike.

Unnion takes off with its first EP featuring a compilation of four spanish artists with different styles and a unique common thread, living up to the platform's name.
The album kicks off with Tadeo's offering, titled "The Second Part", where we can immediately hear the artist's personal touch: a lot of funk, solid sounds, and attention-grabbing elements that go straight to the dance floor.
The second track comes from Unkle Fon, titled "Eltzegor." It's a soaring journey towards a climax filled with synthetic sounds and hypnotic developments that create a unique sense of motion.
Moving on to the third track, we have the contribution of Not A Headliner, titled "Cricket Circus." It features an atonal sensation accompanied by a groovy rhythm in which the interplay of sounds transcends the norm.
Closing the album is Irazu's proposal, titled "Quietly," which presents itself as a singular, monolithic, and raw option, overwhelming like a locomotive and ready to crush any obstacle that dares to stand in its way."

1983, New York City, USA. Dj Trebor drops a record that was to become a classic of the New York underground reggae scene. A true gem released on 'Smoker Records' that’s still widely sought after. The main reason for the release's success? The infectious 'Beggarman' that sits on the B-side, a fearsome rub-a-dub tune that gets everyone dancing from the very first gimmicky intro!

When Frederiksberg records, the team working with local Brooklyn virtuoso DJ Trebor to make his catalog of dazzling 80's Dancehall available again, approached Rico to do a remix, it turns out that he had actually done a Trebor bootleg of "Beggarman" years ago.
Since DJ Trebor kept all his master tapes and even some multi-track tapes, Rico was able to work with stems on this one, it became something completely different than the first one. The mutual respect between the two artists even lead to DJ Trebor performing with OBF on their recent US tour. Here's a fresh O.B.F remix version to celebrate this bad tune’s 40th anniversary.

On "Tambor De Cura", producer Daniel David (The Pendletons) and Bay Area staples Jazz Mafia team up with Rio De Janeiro artist Guinu to cook up a genre defying dancefloor hitter that blends dirty analog Brazilian funk, sci-fi synth sounds and raw horn lines with an unstoppable bass hook. Midway, the song transitions into a Samba break with a beautiful trumpet solo, while seamlessly returning to its infectious house tempo. Guinu's passionate vocals highlight the healing power of the music.

On "Devotion", producer/singer and multi-instrumentalist Daniel David (The Pendletons) teams up with Jazz Mafia to bring a rich up-tempo offering. Building off of a hypnotic jazzy house piano and tapestry of congas and live percussion, Daniel soulfully paints a picture of connecting to spirit through one's inner world. Jazz Mafia's driving horns build throughout, propelling the track, with relief by an energetic drum breakdown and conga solo.

Swedish singer and composer Elin Piel returns to Mystery Circles after making a debut appearance on the Las Vegas-based ambient label back in 2020. Piel's sound deals in microscopic layers of textural detail slowly shifting around delicately embellished melodies - 'Tunnlar' is a perfect opening statement in this sense as glassy synth phrases pass through prismatic DSP and faint flickering interference skips around in the background. If you enjoy the work of artists like Emily A. Sprague and The Humble Bee you'll certainly find much to savour on this beautifully rendered album.

SULPHUR AEONs neuestes Werk ist gesegnet mit Kontrasten, klanglicher Ebbe und Flut. Ein Taifun kantiger Riffs und wilder Blastbeats, raffinierte Melodieschichten, dichte Atmosphäre und triumphal gesungene Refrains reißen dich mit. Ätherische Akustikgitarren, subtile Synthesizer, einen Hauch von Gothic ('The Yearning Abyss Devours Us'), satte Leads, E-Bow-Parts, heftige Aggression ('Arcane Cambrian Sorcery'), monumentale Schwere, die in hypnotische Gesangsmuster übergeht ('Seven Crowns And Seven Seals'), und ein großes Finale ('Beneath The Ziqqurrats') - "Seven Crowns And Seven Seals" überschreitet Genres; es wütet und zerstört, lullt dich im nächsten Moment in gefährlich täuschende Ruhe, nur um dich unwiderbringlich in den dunklen Strudel des Ozeans zu reißen. SULPHUR AEON meistern ihren durchdringenden Cinematic Death Metal der Extraklasse, gehen über sich hinaus und klingen dabei doch unverkennbar kohärent - perfekt eingefangen und verfeinert von den langjährigen Mitarbeitern Simon Werner und Michael Zech (Secrets Of The Moon, Bølzer etc.), während das Mastering von V. Santura (Triptykon, Dark Fortress) übernommen wurde. Was das Artwork betrifft, so haben SULPHUR AEON diesmal mit der Tradition gebrochen, wieder mit Ola Larsson zu arbeiten, und sich mit dem Italiener Paolo Girardi zusammengetan, um eine Lovecraft'sche Apokalypse darzustellen, die der Opulenz und Dynamik des Albums einen raueren Stil entgegensetzt.

“I believe that if they ever had a singing Olympics Donald and I would get (into the) top 3, if not win some gold. If you put us all together and let us have a singoff, we could hold our own with anybody from any era. That maybe sounds a little prideful, but that’s what I believe.” Phil Everly’s words to author and music historian Joe Smith will ring very true to anyone who listens to this compilation. All the tracks on it are half a century old, yet sound as fresh as ever. The fact is, that the harmonies Don and Phil brought to the charts were widely influential on a generation of pop performers on both sides of the Atlantic. For most of their recordings, Don sang the baritone and Phil the higher tenor part. Paul Simon and Art Garfunkel were just one of the acts that copied the Everlys, while Bob Dylan added to the praise by saying, ‘We owe these guys everything. They started it all.’

Common Courtesy is the fifth album from A Day to Remember and is reissued on both CD and double LP vinyl for the first time since 2016. The newly packaged vinyl includes updated cover art and pressed on lemon and clear color in color vinyl with die-cut album packaging. Since its initial release in 2013 Common Courtesy has gone on to amass over 500k in total consumption and includes some of the bands biggest hits including "Right Back At it Again" and "Sometimes You"re the Hammer, Sometimes You"re the Nail". Over the course of the past several years, each of A Day To Remember"s releases have hit No. 1 on Billboard"s Rock, Indie and/or Alternative Charts, they"ve sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours, amassing a global fanbase whose members number in the millions.

Symphonic metal powerhouse SERENITY unleash their new studio album, Nemesis AD! The successor to their previous full length, The Last Knight (2020), which landed #25 on the German album charts, is out on October 27, 2023 via Napalm Records and is the first record with Marco Pastorino (Temperance) as additional guitarist and backing vocalist. Known for their thematic albums inspired by historic characters and stories of the past, on Nemesis AD, SERENITY draw inspiration from the life and highly influential art of painter Albrecht Dürer of the German renaissance. Grandiose intro track “Memoriae Alberti Dureri” sets the scene for the album, before legendary singer Roy Khan (Conception, ex-Kamelot) lends his impressive vocals on the mighty “The Fall of Man”. ""Ritter, Tod und Teufel (Knightfall)” (named after Dürer’s famous artwork) features lyrics sung partially in German, for the first time in the band’s history spanning over more than two decades. The powerful track showcases SERENITY’s signature blend of orchestral arrangements, heavy guitar riffs, and soaring vocals. Heart-wrenchingly emotional yet empowering “Reflections (of AD)” mesmerizes the listener with its awe-inspiring instrumentation, multifaceted vocals and brilliant changes throughout the gripping eight-minute track. Theatrical “Sun of Justice” leads the listener to a faraway fantasy world while the vocal performance of skilled singer Georg Neuhauser ultimately unlocks the track's hit potential. “The End of Babylon” represents one of the darker, heavier tracks on Nemesis AD - climactic arrangements carry the dramatic storyline. Monumental orchestral version of “The Fall of Man” closes the album on a thrilling note that is sure to send a chill up your spine. With Nemesis AD, SERENITY add yet another bombastic symphonic metal masterpiece to their notable discography - there is no doubt that the talented unit’s standing in the scene is well deserved. BLURB "The Fall of Man" - Single No 2 Symphonic metal unit SERENITY unleash “The Fall of Man”, a mighty single off of the band’s new album Nemesis AD! With vocal support from legendary singer Roy Khan (Conception, ex-Kamelot), the song is a sure future hit with fans old and new. SERENITY’s previous studio album, The Last Knight (2020), hit #25 on the German album charts, and the band has gained millions of Spotify streams and YouTube views with their earlier efforts.

Coming straight from the warm city of Lisbon, Portugal, The Voynich Code is a four-piece deathcore band that masterfully blends elements of Metal, Deathcore, and Progressive to deliver an enthralling and unpredictable sound. The Voynich Code's music is characterized by its blend of technical proficiency and emotional depth with heavy guitar riffs, groovy drums and mysterious keyboards that are sure to captivate the fans of heavy music.

What we love about this compilation is that it’s not one of these boring best off type of stuff, but a gathering of all songs that were published on rare vinyl releases that Hooded Menace put out during the last 15 years. So, in case you had no chance to buy any or all of these 7”s or splits (that go for high prices these days) this compilation is a chance for you to hear some more splendid stuff from these masters of horror. All songs are presented in chronological order, so... The feast begins with two songs which also ended up on the debut album of Hooded Menace “Fulfill the Curse”, but recorded in different versions the year before the album was recorded. We all love how Hooded Menace combines heavy, Doomy riffage with that gloomy, horror atmosphere and some melody. And of course their Doom is strongly infected with old school Death Metal, so this is also why the music of Hooded Menace speaks to many of you so well. Later there’s some stuff from the split with Anima Morte, splits with Coffins, Asphyx and Ilsa. All in all, we have to say that “Gloom Immemorial” is a fantastic compilation of rare stuff from one of the best Doom/Death Metal bands ever. We would love to have them all as originals, as playing such music in vinyl format is simply pure magic and it always give you a special feeling, but if you cannot have what you want, you will be very happy with this substitute. The band and the label took it all seriously and came up with a fantastic booklet, which shows you each original release in details - with lyrics, original artwork and band photographs from that era. It cannot be done better, so this is just a near-perfection type of release with 75 minutes of horror soundtrack on a killer 2-LP.

100 only

AhGeeBe is the stage name of Welsh songwriter, pedal-steel player and general all-round multi- instrumentalist, Rhodri Gwyn Brooks. Through the past decade performing and recording with various artists (Melin Melyn, Gia Margaret, Novo Amor, Georgia Ruth & Ivan Moult to name a few), Rhodri has drawn on inspiration from artists such as George Harrison, Wilco and Neil Young, to produce his distinct brand of country Americana.
Through Bubblewrap, Rhodri has released lo-fi home
recordings and a couple of EP’s under his own name, as well as a Welsh Music Prize nominated album ‘Pontvane’, alongside Eugene Capper. Now, a decade in the making, AhGeeBe’s debut album ‘Chin Up, Chief‘ drops on November 3rd, through Bubblewrap Collective.
Rhodri shares some of his thoughts and processes...
Over the years I’ve come to realise that I much prefer playing for other artists, and collaborating with people, more than writing and releasing my own music with all the ffaff and headspace it takes up. But here we are.
The name of the record comes from a line in TV show Fargo, where police officer Molly tries to cheer up the police Chief. It stuck with me and seemed all too fitting a title for the songs as a whole.
Musically I wanted to make an album with all the sounds and feel I really love from artists like George Harrison, Wilco, Neil Young etc with piano and acoustic guitar, interupted by spikey electric guitars or mad fuzz solos with a solid slight funk to the rhythm section - my attempt to sound like a David Axelrod record. I got a pedal steel guitar around 3 years ago so there’s a veriety of bottleneck slide, lapsteel, and pedal steel guitar on the record. And then on the flip side, have moments of calm and sparsity, with room to woozily meander around.

Everyone’s favourite gallerists are back in town, with a brand-new offering following back-to-back sell-out shows. Two mysterious mid ‘70s creations that have been causing chinstrokers the world over to lose their marbles. The bids have been wild on this one, and for good reason too, who wouldn’t want them taking top spot glistening like gold in their collection.

Artistry like you’ve never seen it before, retouched to perfection to create two new priceless pieces of musical magic - solely played by Harvey and Artwork.

Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the duo’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves. “Remixes” will be out on raster on August 18, 2023 as 2xLP and digitally. The record’s artwork was contributed by Spanish graphic designer Alicia Carrera.

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

After 14 years and nearly 150 CD releases, Cherry Red's psychedelic imprint Grapefruit finally produces its first-ever vinyl issue.

A 90-minute, 30-track anthology, ‘When The Alarm Clock Rings’ is an all-encompassing overview of the late 60s British psychedelic scene.

The set features major underground names (Crazy World of Arthur Brown, Blossom Toes, Dantalian's Chariot, John's Children), cult 45s (The Voice, Paper Blitz Tissue, The Syn), future legends (Alex Harvey, Genesis, Greg Lake's early venture The Shame) and pop groups who occasionally turned dayglo (The Merseys, Plastic Penny, Picadilly Line).

Limited to 1000 copies and containing Grapefruit's trademark combination of photos and annotation on stylish 12” x 12” inserts, ‘When The Alarm Clock Rings’ is an essential purchase for vinyl aficionados and a tantalising taster of further plastic platters!

Modernists loved the latest R&B, blues and soul sounds coming from US cities such as Chicago, Memphis and Detroit and when British groups started playing their own interpretations in clubs and dancehalls they gained their own mod followings, their music remaining popular on the mod scene today.

Side 1 of this bespoke collection spotlights the British R&B scene and features a founding father of British blues Alexis Korner with the rare ‘Taboo Man’ alongside ace mod tracks from The Bo Street Runners, The Others, Mickey Finn and The Blue Men (featuring a youthful Jimmy Page on harmonica) and more.

Side 2 starts with British R&B groups developing their own sound by turning up their guitars, employing distortion, feedback and fuzz pedals to take the music in a new direction. Highlights include the Joe Meek produced ‘Crawdaddy Simone’ by The Syndicats (described as proto punk because of its ferocity), The In Crowd’s snarling ‘Things She Says’ and The Artwoods’ fuzz drenched mod favourite ‘I Take What I Want’ featuring future Deep Purple organist Jon Lord on organ.

Denny Laine (later of Wings) sings with The Moody Blues calming things down with some soulful beat.

Side 3 focuses on UK soul music - Rod ‘the mod’ Stewart backed by The Brian Auger Trinity takes on Sam Cooke’s ‘Shake’, the godfather of ska Laurel Aitken proves he’s also a natural soul man with his floor filling version of The Mar-Keys’ ‘Last Night’ and the amazing Barry St. John sings the funky ‘Gotta Brand New Man’. Popular club acts Lucas & The Mike Cotton Sound and Carl Douglas & The Big Stampede would regularly bring the house down at mod clubs and also feature.

Side 4 includes mod club dancefloor smashes from The Spencer Davis Group and Rupert’s People (AKA mod group Fleur De Lys) while mod heroes The Action go psychedelic with ‘Look At The View’. A moonlighting Jeff Beck of The Yardbirds plays on John’s Children’s ‘But She’s Mine’ and there are brilliant singles revered by freakbeat and psych collectors such as Double Feature’s ‘Baby Get Your Head Screwed On’ and The Drag Set’s ‘Day And Night’.

Rarities from The Trendbender Band and The Union (featuring Elmer Gantry) appear on vinyl for the first time.

Techno House Connoisseurs are back with another storming EP of various artists for dance floors worldwide. This V/A features some big hitters in Phoreski and Felix Dickinson as well as San Diego's Terry Jasinto, Seattle's Lock and Hammer and LA's Praus. Lots of ground covered here with unusual and unique stylings in the realm of acid and cosmic.

Phoreski's Kyoto Dawn leads the way with it's deep and euphoric vibe floating along leaning deep and etherial in all the right places.

Felix Dickinson follows up with his remix of Phoreski's track bringing the 303/acid into the forefront building it into a monster chugger complete with droning synths and 808 accents. Look for a sweaty frenzy at the climax of the track!

San Diego's Terry Jasinto makes his THC label debut with a tech house gem that pumps and weaves with it's dynamic drums and synth stabs. With several nice subtle layers of acid throughout, it is perfect for a high energy dancefloor.

LA's Praus continues to produce deep and complex tracks for THC records showing he has an ear for unique programming. His release, "Heedful" quickly gets your attention delivering haunting synths and beautiful acid lines in the cosmic fashion only Praus can deliver.

Seattle's own Lock and Hammer rounds out the EP with an unusual and quirky burner that intrigues and delights in a wealth of analog glory. Built for a warehouse, the artist has let loose a track that will glimmer on any loud system doing a number on your head/psyche in the early hours.

The first release of Clinical Records is here! This brand new label combines repressing old gems with newly produced tracks by upcoming producers that are inspired by the sound from back in the day that we all like!

The A side is originally from Sleepwalker, 1 out of 3 from the trio Boom Generation. Both of the tracks were originally release in 1992!

A1 - Saying Hi There is an energetic, upbeat track with a driving bassline that will get any party going.

A2 - Fruitface comes with an infectious groove and old school stabs which are perfect for any warmup set.

B1 - Push Me Up is from new artist Ben Diggins and combines a heavy sub with groovy piano chords and a steady groove, one for the house heads!

B2 - Loosduinseweg is from Boss Priester, an artist that is really making way for himself. He puts a new touch to old school sounds with a groove to die for, a must have!

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

As the music industry continuously evolves, pushing boundaries and challenging conventions, artists like Michael Peter Olsen emerge to redefine the very essence of their chosen instruments. With an
impressive career spanning nearly three decades, Olsen has had mainstream exposure through collaborations with renowned artists like Drake, Ed Sheeran, and Arcade Fire and developed multifaceted talents as a player, producer, composer, and Grammy-nominated songwriter.

However, it is his electric cello based solo project, which debuted in a grimy basement club in Berlin in 2019, and his 2021 album “Yearning Flow'' that truly showcased his desire to subvert expectations of what a cello can be. With the release of "Narrative of a Nervous System," Olsen taps into the prevailing sense of disconnection in modern society, accentuated by the recent pandemic. The record delves into the increasing divisions between the mind and body, metaphorically capturing the struggles many individuals face with their mental health.

Olsen aims to bridge this disconnect through his music,
creating a powerful fusion of sonic and visual elements. While the album is instrumental and conceptually-driven, Olsen remains committed to making the music accessible and relatable. Olsen's
vision is further realized through the inclusion of special guests Owen Pallet, Màiri Chaimbeul, alaska B, and Zoon, each representing older music traditions. Celtic, European, North American Indigenous,
and Traditional Chinese are explored and stretched, offering a modern perspective on ancient intuitively based traditions. While Michael Peter Olsen dismantles the preconceived notions surrounding the cello, he continues to create evocative emotional music.

"Narrative of a Nervous System" invites listeners to explore the disconnections between mind and body, and offers a transformative musical journey that resonates with both the modern world and ancient traditions. “Essentially I’m trying to destroy the cello, but do it in a nice way”

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness

Limitierte Re-Issue Ausgabe des 96er Albums in Black Vinyl und Revised Artwork. Das Ding gab"s ewig nicht auf Platte! Das Artwork wurde komplett nachgebaut und "optimiert", dito die LP selbst! Zu den Boxhamsters muß Mensch wohl nicht mehr viel sagen! Sie gehören zur Creme des Deutsch-Punk: ultraschöne Songs wie Jahrzehnt-Hymne "III" oder die Ballade "lurchi" mischen sich zu härterem Gerangele wie "Ballermann 6" oder das HC-lastige "Geisel", das direkt an die Bosstones erinnert.

Nicht nur Kinofilme bekommen ein Sequel, wenn das Publikum nach mehr verlangt. Mit „Clap!“ legt Trompeter Erik Truffaz jetzt nur wenige Monate nach seinem ersten Kinojazz-Album „Rollin‘“ auf Blue Note Records eine Fortsetzung vor. Erneut hat er sich Juwelen der europäischen Filmmusik ausgesucht und interpretiert sie auf jazzige, mal atmosphärische, mal groovende Art.

Mit dabei ist das Thema aus dem Filmdrama „Die Dinge des Lebens“ mit Romy Schneider, das Truffaz auf packende Art neu interpretiert. Krimi-groovig ist Truffaz‘ Interpretation des Belmondo-Thriller Themas
„Der Greifer“, hier kann man die heiße Action des Filmes musikalisch nachempfinden.

(Almost) The start of it all! 35th anniversary special edition of classic Stone Roses single Sally Cinnamon on white 180gsm vinyl. DMM half speed mastering. Includes bonus live tracks. Sally Cinnamon is acknowledged as the first release in the style which would come to be recognized as the Stone Roses' trademark sound. This EP includes 7" and 12" single mix, all the B Sides and additional live tracks from 1987. This is the first time this new configuration has ever been released, complete with refreshed artwork. Exclusive white colour, heavy weight 180 gsm Vinyl. Half-speed mastered to the highest possible quality and DMM - Direct Metal Mastered with protective polypropylene inner bag.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Rutilance doubles its efforts to celebrate his 10 years in the music industry with this new various artists double pack. All the Rutilance friends reunite to produce 8 house tracks where everyone can find what they're looking for. 3 digital bonus tracks will be available to complete this master piece....

Bei der Konzeption von 'Switched-On' orientierte sich Pachy García, alias Pachyman - Multi-Instrumentalist aus L.A. -, am Reggae der Lovers-Rock-Ära und dem legendären Studio One. Doch das Album ist auch eine Hommage an die Ära, in der Musiker begannen, Synthesizer für herrlich schräge Bleeps und Bloops zu manipulieren. Seine Entwicklung wird auf You Looked at Me deutlich, wo ein Krautrock-artiger Beat mit Synthies, die an Boards of Canada erinnern, verschmilzt. Pachys Sound erweitert sich auf Trago Coqueto, einem frechen Liebeslied, das durch das Prisma eines Cocktails gesungen wird und eine Ode an seine puertoricanischen Wurzeln ist.

His new EP, "Nostalgic For The Future", was inspired by an experience he had during a lucid dream that evoked a paradoxical and enigmatic feeling. Also influenced by the artists of his childhood such as Daft Punk, Alan Braxe or Jestofunk, this new project is imbued with house sounds.

By using artificial intelligence in the conception of "Nostalgic for The Future", Fhin proposes an innovative vision to tackle eternal and inexhaustible themes of music: love, the meaning of our existence or the intensity of our emotions.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Am 27. Oktober erscheint ihr neues Album "Chronicles of a Diamond" bei ATO Records. Produziert von Quesada und hauptsächlich abgemischt vom sechsfachen Grammy-Preisträger Shawn Everett (Alabama Shakes, The War on Drugs), übernimmt Burton auf den zehn Songs die Rolle des Co-Produzenten und lässt seine freigeistige Musikalität in jeden Track einfließen.

“It felt like a metamorphosis in a way that was both beautiful and difficult, but in the end feels more true to who we are as collaborators“, erzählt der Sänger. Die Songs entstanden zwar im Studio, fangen aber definitiv auch die verrückte Energie ein, die während den Live-Shows der beiden entsteht. Das endet in einem besonderem Hybrid aus Soul und symphonischem Pop, der verrückter und extravaganter als sein Vorgänger komponiert wurde. Inklusive unerwartete Ausflüge in Jazz-Funk und psychedelische Gefilde samt hypnotischen Rhythmen, wilden Gitarrenriffs und stimmungsvollen Mellotron-Melodien, die eine tranceartige Euphorie ausstrahlen. „With this album I felt very free in my vocal performance, which has a lot to do with Adrian hearing something in my voice and helping me to explore that”, ergänzt Burton.

Als Black Pumas 2019 ihr selbstbetiteltes Debüt veröffentlichten, löste das Duo aus Austin eine Reaktion aus, die fast so außergewöhnlich und mitreißend war wie ihre Musik selbst. Gefeiert von den Medien, hagelte es insgesamt 6 Grammy Award-Nominierungen (darunter Best New Artist und Album of the Year). Neben Live-Auftritten bei den genannten Grammy Awards, spielten die Black Pumas außerdem bei der Übertragung des NFL Drafts sowie zur Amtseinführung von Joe Biden. Sie tourten durch ganz Europa sowie Nord- und Südamerika und waren bei bekannten Late-Night-Shows wie Jimmy Fallen, Jimmy Kimmel, Ellen DeGeneres oder Stephen Colbert zu sehen. Ihr Album verkaufte sich über eine Millionen Mal, alleine ihre Single "Colors" steht inzwischen bei über 450 Millionen Streams. Nun ist es an der Zeit, das zweite Kapitel der Band aufzuschlagen.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Pattern-Seeking Animals sind eine bahnbrechende Prog-Rock-Band, die die Grenzen der musikalischen Erkundung immer mehr erweitert. Bestehend aus John Boegehold, Ted Leonard, Dave Meros und Jimmy Keegan, fesselt die Band mit komplexen Kompositionen. Auf ihrem 4. Album nähern sie sich neuen Klangwelten und Themen, die sie mit der DNA ihrer bisherigen Arbeit zu ihrem bisher einprägsamsten und stärksten Album kombinieren. Boegehold erklärt: "Da dies unsere vierte Veröffentlichung in weniger als 5 Jahren ist, war es meine Absicht, nicht über bereits bekanntes Terrain zu gehen. Wir haben andere Sounds, Texturen und Musikstile verwendet und sind auch ganz anders an den Gesang herangegangen." Der neue Ansatz macht sich nicht nur in Produktion und Sound bemerkbar, sondern auch bei den Texten. "Die Themen umfassen einen nordischen König, der über das Leben nachdenkt, während er erobert wird, einen alternden Sucher auf dem Weg zur Erleuchtung, Außerirdische, die Menschen jagen und sich der Gefangennahme entziehen, einen konfliktbeladenen Soldaten vor und nach dem Ersten Weltkrieg, eine schwangere Teenagerin, die eine schlimme Situation zu Hause hinter sich lässt, einen widerwilligen Helden, der in seiner letzten Schlacht siegt, und die Freundin eines Mannes, die ihn wegen seiner Verschwörungstheorien verlässt." Die Fans werden mit der ersten Single "Window to the World", einem energiegeladenen Up-Tempo-Art-Rock mit einem Hauch von Ska und Reggae, etwas Neues erleben. "Somewhere North of Nowhere" ist ein geradliniger Prog-Song mit einzigartigem Bridge-Teil. "Underneath the Orphan Moon" ist eine düstere Ballade über ein Teenager-Mädchen, das einer schlimmen Situation entflieht. Der stimmungsvolle und cineastische Song erinnert an einen klassischen Elton-John-Song, mit echter Streichergruppe. Das Album ist erhältlich als Ltd. 2CD Digipak und Digitalalbum (inkl. 3 Live-Bonustracks von ProgStock 2022) und als 2LP Gatefold 180g (inkl. 2 Live-Bonustracks von ProgStock 2022).

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

10 years anniversary edition /RM,Bon.Trk,COL,LTD Deluxe split cristal & curacao vinyl

The highly acclaimed and most influential album in the mallsoft subgenre of vaporwave. Released almost 10 years ago by

Lien de téléchargement12 fichiers - 512.4 Mo - valide jusqu'au 16 sept. 2023

the mysterious artist Disconscious, it continues to captivate listeners with its haunting and relaxing soundscapes, creating a vivid atmosphere of abandoned malls, combining elements of nostalgia, emptiness, and a touch of sinister undertones. Tracks like "Enter Through the Lobby" and "Lunar Food Court" stand out as fan favorites, transporting listeners to a bygone era of ultra consumerism, offering a unique and immersive experience that has stood the test of time.

Official vinyl edition of the classic album
Remastered including 3 bonus tracks,
Limited to 500 split cristal & curacao vinyl.

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we've been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin III" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda.

Born in Atami in 1941, Yuji Ohno started learning the piano at a young age and formed his own band during his teenage years, getting into Jazz in the process. After high school, he entered the prestigious Keio University in Tokyo and played in the revered university big band alongside two other pianists, Masahiko Sato and Hirosama Suzuki, who would have an illustrious career in their own right. After University, Ohno became a professional musician and started playing with the new wave of Japanese Jazz musicians forming his own trio and recording with the likes of Hideo Shiraki, Terumasa Hino and Masahiko Togashi from 1967 onwards.

At the turn of the 60s, Ohno started to veer away from the Jazz scene as he realised, as told to Nick Luscombe that "the jazz music being played by the Japanese at the time was only chasing the cutting edge, and was ignoring the roots and origins of jazz." Ohno therefore shifted his efforts to film and TV and also to producing artists for various Japanese labels, becoming one of the most in-demand composers, arrangers and producers in Japan. This is when Ohno developed his unique sound across a wide variety of styles. More than anything else, he got renowned for his anime soundtracks, particularly with the Lupin III series - represented here by the superbly funky "Silhouette" - which made his fame in Japan

Whether it's jazz, funk, disco or Pop, the "Ohno Sound" is unmissable both in terms of melodies and arrangements, on a par with those of such legends as Quincy Jones and Michel Legrand. Ohno's melodies are sophisticated yet accessible and there's a great sense of space in his productions especially when it comes to slow-burning grooves as heard on "Kirameku Inner Space" from the cult anime soundtrack "Captain Future" or "The Soaring Seagull" from the sought-after 1975 album "Electro Keyboard Orchestra." This album was recorded with seven fellow musicians including Kentaro Haneda and Ohno's old friend, Masahiko Sato and using twenty Korg synths to create a unique blend of futuristic jazz funk. "The Soaring Seagull" could be the perfect embodiment of Ohno's signature sound when it comes to instrumentals. The producer was however equally at ease with producing lush disco extravaganzas such as "Subterranean Futari Botchi" by Nanako Sato or "I Wish You Love" by Hatsumi Shibata, a revamp of Charles Trenet classic, both colourful and glitzy.

Ohno's versatility is on display here with a couple of jazz vocal tracks, "Speak Low" by Ann Young accompanied by the Yuji Ohno Trio and Mieko Hirota's fast and furious "I Want to Be Happy" while he also excelled at crafting gorgeous mellow songs such as Ken Tanaka's "Lilac-gai No Aki" and Hatsumi Shibata's "Mouichido Kikasete" closing the selection on a perfect note. "Touch" is just a tiny selection from Yuji Ohno's immense body of work and it will hopefully open the ears of Japanese music lovers to one of the most important musician, producer and arrangers of his generation.

Gusstaff Records and Ant-Zen are proud to announce the second solo album by Maciej Frett (Job Karma, Wrocław Industrial Festival), which is vocally supported by Anna Frett. After FRETT's 2020 debut "The World as A Hologram" was warmly received by fans and critics, it's time for the next installment of the FRETT project.The album "NOTTWO" revolves around the theme of dualism, which seems to be the raison d'être of the being of man and the world. Opposites define our way of perceiving the surrounding reality, or is it just an illusion? the artist seems to be asking…Musically, "NOTTWO" is a continuation of the first heavily rhythmic album, but this time FRETT gives many compositions an almost song-like structure. However, let's not be fooled by appearances - derived from the author's post-punk and industrial lineage, analog retro futuristic synth melodies and strong rhythms will work well both on a dark dance floor and can be a soundtrack to a non-existent movie.
Vinyl is ultra-heavy 200g black.

Move into the Luminous is the debut album by the trio Makushin.

Double bassist Jon Thorne (Lamb, Yorkston Thorne Khan), guitarist Peter Philipson (Jane Weaver, Fenella) and singer Nancy Elizabeth (Leaf Label, James Yorkston) lead this inspiring collective whose work explores the intersection between folk, jazz and ambient music.

The album also features contributions from Andrew Wasylyk, Raz Ullah, David A Jaycock and more.

Nancy Elizabeth is a singer and multi-instrumentalist who has released three chamber folk albums under her own name on the Leaf Label. She has also previously played with James Yorkston and recorded with the late ambient composer Susumu Yokota.

Jon Thorne is a double bassist best known as a member of the pioneering electronic band Lamb and, more recently, Yorkston Thorne Khan. He has worked with many other musicians, including Jon Hopkins, Robert Fripp and his mentor Danny Thompson, as well as releasing his own music.

Peter Philipson is a guitarist who has previously performed with Jane Weaver as her guitarist for a decade and has collaborated with her and Raz Ullah on two ambient albums under the artist name of Fenella. He has also released a number of instrumental guitar albums under his PJ Philipson guise.

Two visionary maestros, Pierre Bastien and Michel Banabila, unite in their first collaborative album, Baba Soirée. The veterans of electronic music bring their unique expertise to the table, resulting in a captivating fusion of experimental styles. Bastien’s mechanical loops and experimental instrumental setups merge seamlessly with Banabila's sound design and impeccable skills of sampling collages. It's not a dance party, nor is it an avant-garde intervention. It's a soirée: a cultivated evening of sonic alchemy hosted by these two charismatic gentlemen.

Pierre Bastien is a composer and multi-instrumentalist with a background in French literature. He has spent decades crafting an idiosyncratic world of experimental sound with his self-built mechanical orchestra Mecanium. It was most notably showcased in audiovisual releases on Aphex Twin's Rephlex label. Bastien's creations are a mesmerizing combination of traditional instruments (he has a vast collection) and mechanical automatons. The violin in the track Rotomotor, for example, is physically played by one of his machines. In Baba Soirée, Bastien also plays a prepared cornet (Slow Dance, Banbas Aura), infusing the recordings with a breathy, dreamy dimension.

Michel Banabila, a sound artist, composer and producer, possesses an eclectic musical repertoire that defies genres. His seamless blend of minimal electronica, tribal ambient, and neo- classical influences has earned him a prominent place in the world of experimental music, and an impressive discography (Knekelhuis, Bureau B, Séance Center, a.o.). Banabila serves as the creative sampling editor for Baba Soirée, expertly weaving together the recordings to craft an evocative sonic tapestry.

The two share a curiosity for traditional instruments from various cultures. The instruments used in the recordings are shown in the cover artwork. A mutual admiration for each other's work paved the way for this fruitful artistic partnership of the Rotterdam-based artists: Collaborating on a single as a fundraiser for Yemen in 2022 set the stage for the creation of Baba Soirée.

For Pierre Bastien, Dada, Fluxus and International Situationism have played a significant role in shaping his artistic vision. The title Baba Soirée is an homage to Kurt Schwitters and Theo van Doesburg's "Kleine Dada Soirée" collaboration which took place exactly a century ago. There's an unmistakable stoicism and an anarchic not-giving-a-f*** attitude in these recordings by Bastien & Banabila, which resonates in the light of this Dada reference.

British Sky Empire is back with their second album "The Shifting Tectonic Plates of Power - Part One". This time has Jeff Scott Soto (Yngwie J. Malmsteen, Talisman, Journey) taken over the position as vocalist, and he is doing a fantastic job. The album will surely appeal to fans of both 70´s, 80´s and 90´s eras of progressive heavy rock/metal, but also to the fans of the new age spotless equilibrism of prog-artists, like Tesseract, Haken or Vola.

Sound Like: Dream Theater, Threshold, Kings X, Rush

Anniversary Edition. Colour in colour Vinyl. Plus Booklet und Insert. Wenn die Zeiten hart sind oder man sich zermürbt fühlt sehnt man sich nach einem Leben in vollständigem Frieden. Ein Leben, in dem es keinen Streit, keine Auseinandersetzungen und keine Lügen gibt. Ein Leben ohne Enttäuschungen und eines, in dem das eigene Handeln keine Konsequenzen hat. Manche würden es eine Fantasiewel" nennen. Das belgische Trio Brutus nennt es "Unison Life" - eine Formulierung, die auch den Titel ihres dritten Studioalbums ziert. "Unison Life" handelt von all den Dingen, die einen von vornherein zermürben. Es geht um die Abscheulichkeit, den Schmerz und die mutigen Taten, mit denen man das alles übersteht. Das Album beginnt mit einem Porträt der Zufriedenheit und entwickelt sich von dort aus weiter, bis es in die Schlacht zieht und die Frage stellt, was wirklich zählt. In ihren eigenen Worten: "Is this Unison Life a hoax? Or a quest?" Auf Unison Life zeigen sich Brutus von ihrer bewussten Seite. Sie haben sich mehr Gedanken über den Sound gemacht, was sich auch auf das Artwork (produziert von Mulders) und das Musikvideo zu "Liar" auswirkt. Da Brutus in den letzten Jahren nicht auf Tournee gehen konnten, haben sie ihre gesamte Energie in "Unison Life" gesteckt. Das Ergebnis ist ein eindrucksvolles Beispiel für eine Band, die Grenzen überschreitet und auf dem Höhepunkt ihres Könnens ist.

Founded and curated by DJ and producer Samantha Togni, Boudica is a platform that aims to give visibility to women, trans* and non-binary artists. Since the platform was first launched in 2019, Boudica has evolved into a series of club events in London at venues like The Pickle Factory, Fold and E1, a radio show, a music conference and a record label.

Boudica's mission is to promote greater gender equality within the music industry. By showcasing diverse role models from marginalised communities across the music industry, they aim to engage and inspire young and upcoming artists to pursue music careers irrespective of their background and experience within the field.

In 2020, they launched the inaugural Boudica Music Conference at Freemasons' Hall. The full day included educational panels, workshops and live music designed to encourage more artists from marginalised genders to pursue careers in the music industry. In 2022, Boudica not only held London's edition of the conference at the same venue, but they also expanded to Europe. In partnership with Pioneer DJ, they held their first edition of the conference abroad in Bologna at the Museum of Modern Art. Boudica Music Conference is touring in Europe in 2023, featuring talks, workshops alongside Pioneer DJ and club nights.

Last year, they launched the Boudica label, to support and celebrate female, trans+ and non-binary producers. Supported by Arts Council England, the label features artists such as Feminyst, Nur Jaber, Wanton Witch, OCD, Infinity Dreams, Peachlyfe, Yazzus and founder Samantha Togni. Their previous releases have garnered support from major music publications such as RA and Mixmag, resulting in a third VA release.

The third vinyl, 'Dark As It Gets', is a reflection of Boudica's continual musical evolution. The release marks a first for the platform, as they issued a callout for trans+ producers across the world to send in a track to be included on the vinyl. 'Dark As It Gets' by MIIIA was selected, and the title not only encapsulates the EP's energy but also Boudica's drive to support upcoming artists in the electronic music space.

The third vinyl commences with Rotterdam-based duo Animistic Beliefs' 'Vu Sua La Gi?'. The atmospheric track begins with menacing synths that are soon after enmeshed with vogue, gqom and percussive vocal chops that build towards a rewarding, melodic breakbeat cadence at its close.

New York-based Jasmine Infiniti's 'Top Shop' is the second track on the release. Skittish breaks and warped vocals skip across brooding, muted chords that eventually dissipate to reveal a hypnotic synth melody.

The vinyl's B-side begins with Metaraph's 'Emotional Intelligence'. The track marries pummelling kick drums, heady chords and transcendent melodies, all of which serve to guide the listener from triplet hard bass to trance bliss.

Finally, the title track, 'Dark As It Gets', produced by competition winner MIIIA, delivers a powerful sonic ending to the vinyl. In her own words, the track's relentless momentum and intricate incorporation of sampling leads listeners on a 'hypnotic, sassy and intense' techno journey from beginning to end. The uncompromising track's fierce groove emblematizes Boudica's third vinyl commitment to forward-thinking, idiosyncratic production.

The third vinyl concludes the initial Boudica trilogy, depicting members of the Boudica community as contemporary royalty, drawing inspiration from the queen herself.

Sechs Jahre nach Ihrem Debüt und direkt nach ihrer Tournee als Special Guest für Depeche Mode erscheint mit „Navel" das langerwartete zweite HOPE Album auf Haldern Pop Recordings.

NAVEL, das zweite Album der Berliner Band Hope ist eine Übung in Verletzlichkeit. Die vier Musiker*innen wagen sich hinter den Soundwänden hervor, die sie in der Vergangenheit um sich herum errichtet hatten, und zeigen, wie sie hinter den Barrikaden sind: sanft, nah- und fehlbar.
Das hat zum einen mit einer inneren Entwicklung der Sängerin Christine Börsch-Supan zu tun und mit der sich daraus ergebenden neuen musikalischen Richtung der Band. Wo früher Wut und Wucht war, ist heute so etwas wie Ruhe. An die Stelle von Monumentalität ist Meditation getreten. Erzählte das 2017 erschienene HOPE in seinem vollkommen eigenständigen dunklen, dystopischen Noise-Sound von Zwängen, unterdrückten Gefühlen und Gewalt, stellt sich auf NAVEL nun Heilung ein. „Solace“ singt Christine Börsch-Supan mit ihrer genauso klaren wie warmen Stimme im gleichnamigen Song immer wieder: Trost, Trost, Trost.Die Sängerin, auf deren eigener Gefühlswelt die Texte der Band basieren – und damit auch ihr emotionaler Klangraum –, hat sich in den vergangenen Jahren von einer Essstörung befreit und damit von der großen Wut, der anklagenden Haltung und dem Aufbegehren, die die Musik von Hope lange bestimmten. Mit NAVEL hat die Band nun eine Art Zen-Garten errichtet. Einen offenen, auf das Maximale reduzierten, luftigen Raum, der dazu einlädt, ihn zu durchschreiten, der sich aber nicht aufdrängt – und der niemandem eine Deutung aufzwingt. Die Moog-Sounds, die zarten Gitarrenakkorde, das Schlagzeug, oft nur so auf den Fellen der Trommel gespielt, dass ein Sound entsteht, der wirkt wie elektronisch erzeugt – alles auf NAVEL ist durch die Weite bestimmt, die sich zwischen den Elementen auftut. Für NAVEL hat sich die Band von der Idee von Perfektion und Kontrolle verabschiedet und damit – schönstes Paradox – ein nahezu perfektes Stück Musik geschaffen.

WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

Seit 2015 vergriffen, kehrt diese EP nun auf 12"-Vinyl zurück!

Ursprünglich für Big Stars kultige "Third" (1978) aufgenommen, ist "Jesus Christ" zu einem ein Grundnahrungsmittel geworden. Was gibt es Besseres, um diese Zeit des Jahres zu feiern, als als diesen Klassiker auf Vinyl zu erleben - zusammen mit dem Geschenk von seltenem Material! Diese 12"-EP zeigt das Artwork der Heiligen Drei Könige von einem Promo-Plakat von 1973 Big Star-Promo-Poster. Zusätzlich zur originalen Albumversion, enthält die LP ein Demo von "Jesus Christ", das erstmals auf der Grammy®-prämierten Box-Set Keep An Eye On The Sky erschien, sowie sowie 5 seltene Tracks. Die Fans warten schon seit Jahrzehnten auf eine offizielle Veröffentlichung von "Another Time Another Place & You", das auf dieser EP erstmals als Record Store Day EP 2015 veröffentlicht wurde.

Zwei weitere unveröffentlichte Instrumentals kamen hinzu. Eine Demoversion von "Big Black Car" vervollständigt die Playlist. Das Vermächtnis von Big Star leuchtet weiterhin, und die Jesus Christ EP wird nicht nur nicht nur eine glänzende Ergänzung für die Sammlung eines jeden Fans sein, sondern ihnen auch nicht nur das, wonach sie gesucht haben, sondern lässt sie sich auch über das freuen was sie gefunden haben.

Mayer Hawthorne hat seine Wurzeln in seiner Heimatstadt Ann Arbor, Michigan, wo er auf dem Höhepunkt des Detroiter Hip-Hop mit dem Produzieren von Beats und dem Auflegen von DJs begann.

Er hat bisher 5 Alben veröffentlicht und Auszeichnungen von angesehenen Publikationen wie GQ, New York Times Magazine, Playboy und Rolling Stone erhalten. Von der Verkündung seines bevorstehenden Ruhms durch NPR bis hin zu BBC Music, hat seine Kunst die Herzen von Kritikern und Fans gleichermaßen erobert. Mit einer Fülle von weiteren Beiträgen in namhaften Magazinen wie Billboard, Entertainment Weekly und Vanity Fair sowie Auftritten bei Conan, Letterman, Kimmel, der Today Show und darüber hinaus ist Hawthornes kultureller Einfluss unbestreitbar.

Nicht nur die Kritiker und Fans lieben Hawthorne, sondern auch seine Kollegen. Er eröffnete die letzte Tournee von Amy Winehouse und war Support von Bruno Mars; er schuf moderne Yacht-Rock-Jams mit Pharrell am Pool in Miami und John Mayer nannte sein Debüt auf Twitter das "Album des Jahres".

Jetzt ist Hawthorne bereit, sein neues Studioalbum For All Time zu veröffentlichen, eine eindringliche Erfahrung, die Grenzen überschreitet und die Schatten umarmt. Auf diesem Album taucht er tief in die Tiefen des menschlichen Herzens ein und erforscht die Komplexität der Liebe und die rohen Emotionen, die sie begleiten. Es ist eine fesselnde Mischung aus dunklen, sexy und stimmungsvollen Vibes, die Sie direkt in einen verrauchten Art-Déco-Jazzclub versetzen wird. For All Time ist eine Feier einer Liebe, die mit Intensität brennt
und einen bleibenden Eindruck in der Seele hinterlässt.

"Bring us the Head" ist unsere Liebeserklärung an das Kino der Achtziger und Neunziger, mit dem wir aufgewachsen sind", weiß Sänger Jens zu berichten.

"Während der Corona-Pandemie haben wir viele dieser Streifen "wiederentdeckt". Viele werden das nachvollziehen können - man saß zu Hause, hatte ungewohnt viel Freizeit, und dank der Streaming-Dienste kam trotzdem selten Langeweile auf.

Irgendwann sprachen wir im Scherz darüber, dass es doch cool wäre, eine Platte über unsere alten Lieblingsfilme zu machen... gesagt, getan."

Fans von Streifen wie "Terminator", "Conan", "Army of Darkness" oder "Escape from New York" werden somit ihre helle Freude an dem Album haben, für dessen detailverliebtes Cover-Artwork einmal mehr Besil Wrathbone verantwortlich zeichnet. Auch eine Cover-Version des Ramones-Klassikers "Pet Sematary" nahm die Band für "Bring us the Head" auf. Jens erklärt:
"Da wir den Song seit Jahren im Live-Programm haben, und er außerdem so wunderbar ins Konzept des Albums passt, lag die Idee förmlich auf der Hand."

Der neue Langspieler wird am 27. Oktober 2023 über Reaper Entertainment in den Plattenläden aufschlagen.

Die brandneue Zeichentrickversion von Sergej Prokofjews beliebter Sinfonie "Peter und der Wolf" wurde in ein bezauberndes und zeitgenössisches visuelles Meisterwerk verwandelt, das Themen wie Erwachsenwerden, Verlust, Mut, Verwandlung und unsere Beziehung zur Natur behandelt.

Der animierte Kurzfilm mit Musik und Erzählung von Gavin Friday und einem Artwork, das auf Originalillustrationen von Bono basiert, soll noch in diesem Jahr uraufgeführt werden und ist Teil einer laufenden Zusammenarbeit mit der Irish Hospice Foundation.

Das einzigartige kreative Projekt wird von dem Musiker und Komponisten Gavin Friday geleitet, der das neu interpretierte klassische Märchen erzählt, während das Friday Seezer Ensemble die von Maurice Seezer und Gavin Friday neu arrangierte Musik von Prokofjew spielt.

Parallel zu diesem bemerkenswerten neuen Film wird Peter & der Wolf als Buch und in Audioform mit brandneuem Hör- und Bildmaterial neu aufgelegt und in verschiedenen Formaten veröffentlicht.

Die 1CD-Version wird in einem Gatefold Digisleeve präsentiert und enthält neu gemastertes Audiomaterial sowie Bildmaterial aus dem Animationsfilm. Die Doppel-Vinyl Version kommt in schwarzem 180g-Vinyl im Gatefold Sleeve mit zwei Art Cards.

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

Auf ihrem Debütalbum ALEXALONEWORLD (2021) stellten alexalone aus Austin, TX, einen schweren, aber warmen Stil des atmosphärischen Rock vor, der den Hörer in unscharfe, einsame Räume führt, um ihn dann mit pulsierender Energie aufzurütteln, was die Fachpresse als 'düstere Sonic Youth-Jam-Session' bejubelte. Auf dem mitreißenden Nachfolger ALEXALONE TECHNICAL RESEARCH erweitern alexalone ihren Sound um schrill-komplexe Rhythmen und üppige Shoegaze-Klanglandschaften, die zwischen Dissonanz und Kohärenz variieren. Ihre kraftvolle Musik kreiert eine wunderbar chaotische Welt, die allumfassend und faszinierend ist. 5 Tracks mit bis zu 12:30 min Spielzeit auf schwarz-silberfarbigem Splatter-Vinyl mit DL-Code und Art-Print im silberfolierten Schwarzcover.