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This music unites our common love for the essence of music, which contains harmonic structures and emotionality without borders." — Musique Infinie

Musique Infinie, the new duo consisting of Noémi Büchi and Feldermelder, is rooted in a shared desire to intertwine two composing veins, and to merge them into a new, massive core. While Büchi combined her background in classical and electro-acoustic music with a bold approach to composition on her highly acclaimed debut album 'Matter' (-OUS, 2022), multi-disciplinary musician and artist Feldermelder has been expanding his artistic practice into unexplored realms for over 20 years. Mutually, they've challenged themselves to fully engage on an artistic exploration aimed at making use of the elementary forces that unfold between them.

Their debut album, simply titled 'I', is a musical hybridization. The compositions make use of simple motives that are radically transformed by expanding them into intricate structures and fantastic layerings. The overcoming of genres with eclectic elements from classical music, jazz, film music and traditional music, combined with the vocabulary of experimental electronic music, complete the vertical plunge into this thickness. The emerging pieces lead into a paradoxical world, both disturbing and euphoric. Pieces that don't give in to calculations and expectations, but progress through ruptures and repetitions. The richness of the compositions and their analog, acoustic and orchestral character reflect the density of the world with its violence, its decadence, its fragility, but also its power, its ingenuity and its beauty.

Composer and sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founder of -OUS Records and an active member of Encor.studio, a collective specialising in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Italian cosmic couriers San Leo return with fifth album, ’Aves Raras’: a resounding statement of intent, arguably their most accomplished and well-rounded effort so far. Clocking in at around 38 minutes, “Aves Raras” has it all: analog slag of tribal ritual music, bold guitar riffs, shimmering layers of synths. Frantic grooves, ghostly vocals, dazzling walls of noise and pastoral tonal passages – the ultimate call to enlightenment through euphoria. Over again, San Leo prove to be inclined to explore new pathways in their sonic journey, without relying on formulas of any kind. It doesn’t get any tighter, crucial, and most alive than this. Recorded by Andrea Scardovi at Duna Studio. Drums recorded by Yuri Pierini at Blue Audio Studio. Additional recording by San Leo. Mixed by Francesco Donadello at Kalimba Studio and Synecdoche Music Research, Berlin. Mastered by Giovanni Versari at La Maestà

After a stellar release on Saoirse's label trUst—which caught the attention of DJs like Ben UFO, rRoxymore and dBridge—Ryan Aitchison aka Mella Dee is back on the dials for another outing of quality tech ‘aus fodder.

Rug Cutters Vol. 1 kicks off a slew of upcoming dancefloor weapons from the Warehouse Music boss. Visually underlined by his own original artworks, the EP shows off Mella Dee’s signature flair for whipping up raw, no-nonsense ingredients into irresistibly infectious grooves.

Vol. 1 starts strong with ‘Cutting Snakes (Keep on Moving)’, a track that screams instant classic with its shuffling beat and fat, sassy synthline. A2 track ‘Bumps (You Say)’ dives deep into those bassbin vibrations—it’s big, rude, and dead set on shaking up even the swampiest of dancefloors. Together, these cuts are not messing around.

On the flip, ‘Cutters (They Don't Get It)’ plays with the more futuristic, percussive end of the techno continuum. Drum breaks slither over each other, while a minimal vocal and bass hook locks everything down. Finally, ‘Pay No Mind (Who Am I)’ pulls the EP back to euphoria. This one will have the club cruising to its cocktail of flirty chord stabs and soulful house vocals—you’ll never want to go home.

Luckily, it won’t be long before we get one more tune from Ryan Aitchison—with plenty on the horizon, ‘Rug Cutters Vol. 1’ is also a taste of what’s to come. Stay tuned!

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

Late Night Tales reissues the classic and hard-to-find
‘Late Night Tales: Jamiroquai’, compiled by none other
than Jay Kay himself. The 10th edition of what is now
a classic series of compilations was originally released
20 years ago, and hasn’t been available on vinyl for
over 15 years. A blissful collection of soul, disco, jazz,
rare groove, and funk, this collection is an electrifying
journey through the aural influences of one of the UK’s
most seminal jazz bands.
Jay Kay showcases a wealth and breadth of inspiration
that wouldn’t be amiss on the late-night dancefloors
of the Loft (or Giant Steps, for that matter). From The
Pointer Sisters’ uplifting and soulful ‘Happiness’ and
jazz funk legend Johnny ‘Smith’ Hammond’s ‘Fantasy’
to the anthemic ‘Stay Free’ by Ashford & Simpson and
mellifluous ‘Music Of The Earth' by Patrice Rushen,
these two discs form a rite of passage into the creative
mind of a true musical legend.

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

12 original festive songs, characterised by Johnson’s characteristic songwriting excellence, ranging in tone from the sardonic to the sentimental, featuring traditional seasonal conventions (50s jazz, Father Christmas, mistletoe, sprouts etc) performed by The Xmas Irregulars: Sian Allen – vocals, trumpet, saxophone // John Forrester – vocals, double bass // Robb Johnson – vocals, guitar, tuned percussion // Fae Simon - vocals // Roger Stevens – vocal, piano with Arvin Johnson- drums, Saskia Tomkins – violin & viola // Recorded by Ali Gavan, Brighton Road Studios. Robb Johnson-Brief biography: Robb’s widely recognised as one of the UK’s finest songwriters. “An English original”, (Robin Denselow, the Guardian) “one of our best singer-songwriters ever” (Mike Harding) “one of this country’s most important songwriters (no argument!)” (fROOTS). His work includes two highly acclaimed song suites, Gentle Men, & Ordinary Giants, -a “masterpiece” (fROOTS), “monumental” (FATEA). Last year Murder at the Grange premiered to enthusiastic, sold-out audiences at The Ropetackle in Shoreham & Chats Palace in Hackney – “a cracker of a show… a delightful extravaganza and a uniquely dark and different way to celebrate the winter season” was Folk Radio’s opinion. The Xmas Irregulars: Sian Allen – actor-musician, resident singer at Walthamstow Folk Club // John Forrester – singer & songwriter, bassist in various bands // Fae Simon - studied opera, hip-hop, soul & jazz recording artiste // Roger Stevens – award-winning children's poet & novelist // Arvin Johnson & Saskia Tomkins are both ex-Irregulars – Arvin now drums with Manchester-based band Tigers & Flies, & Saskia now lives & works -to great acclaim- in Canada

Helfró ist aus der Trostlosigkeit entstanden. Als seine vorherige Band Ophidian 2015 eine Pause einlegte, begann Schlagzeuger Ragnar Sverrisson bis spät in die brutale isländische Nacht an seiner eigenen grausamen Vision von Black Metal zu arbeiten.

Aus dieser intensiven Zeit der Einsamkeit heraus bahnten sich Helfró ihren eigenen Weg in die extreme Metal-Landschaft. Ihr selbstbetiteltes Debütalbum wurde mitten im Feuer der Pandemie veröffentlicht, aber die schaurigen Melodien und die rohe Aggression des Albums schafften es auf mehrere Jahresendlisten.

Jetzt meldet sich das Kapuzen-Duo mit seinem Nachfolger zurück. Tálgröf" enthält viele von Helfrós charakteristischen, wütenden Tremolo-Riffs. "Fláráð Fræði" schüttelt sich mit der Wut eines Hagelsturms. Doch während sich das neue Album tiefer mit Sucht und aufdringlichen Gedankenmustern beschäftigt, geht es auch über die starre Welt des Black Metal hinaus. Traðkandi Blómin í eigin Hjartagarði" schwelgt in der glorreichen Death Metal-Schredderei, die Rangar schon als Kind mit seinem Onkel gesehen hat.

Helfró sind immer noch so kalt und unbarmherzig wie die Winter in ihrem Heimatland. Aber 'Tálgröf' ist prädestiniert dafür, ein Feuer des isländischen Death Metal zu entfachen!

Helfró ist aus der Trostlosigkeit entstanden. Als seine vorherige Band Ophidian 2015 eine Pause einlegte, begann Schlagzeuger Ragnar Sverrisson bis spät in die brutale isländische Nacht an seiner eigenen grausamen Vision von Black Metal zu arbeiten.

Aus dieser intensiven Zeit der Einsamkeit heraus bahnten sich Helfró ihren eigenen Weg in die extreme Metal-Landschaft. Ihr selbstbetiteltes Debütalbum wurde mitten im Feuer der Pandemie veröffentlicht, aber die schaurigen Melodien und die rohe Aggression des Albums schafften es auf mehrere Jahresendlisten.

Jetzt meldet sich das Kapuzen-Duo mit seinem Nachfolger zurück. Tálgröf" enthält viele von Helfrós charakteristischen, wütenden Tremolo-Riffs. "Fláráð Fræði" schüttelt sich mit der Wut eines Hagelsturms. Doch während sich das neue Album tiefer mit Sucht und aufdringlichen Gedankenmustern beschäftigt, geht es auch über die starre Welt des Black Metal hinaus. Traðkandi Blómin í eigin Hjartagarði" schwelgt in der glorreichen Death Metal-Schredderei, die Rangar schon als Kind mit seinem Onkel gesehen hat.

Helfró sind immer noch so kalt und unbarmherzig wie die Winter in ihrem Heimatland. Aber 'Tálgröf' ist prädestiniert dafür, ein Feuer des isländischen Death Metal zu entfachen!

Nach dem jüngsten Erfolg ihres aktuellen Albums "I Don't Know" melden sich bdrmm mit einer 7" zurück. Darauf enthalten ein neuer Track, "Mud", sowie ein Remix des Albumtracks "Be Careful", überarbeitet von den Kollegen von Fila Brazillia aus Hull. Fila Brazillia haben bereits mit allen möglichen Musikern zusammengearbeitet, von Radiohead über Harold Budd, Black Uhuru, Twilight Singers und The Orb. Aufgenommen mit ihrem langjährigen Kollaborateur Alex Greaves (Working Men's Club, Bo Ningen) während der Album-Sessions in den Nave Studios in Leeds, zeigt "Mud", wie die Band ihren dynamischen und ausladenden Sound weiter ausbaut, mit einer gewaltigen Produktion und atmosphärischer Instrumentierung, unterfüttert von den halllastigen Vocals der Band.

Ltd. Gold LP. In den Annalen der Rockmusik gibt es nur wenige Sänger, die eine so ausdrucksstarke Stimme haben wie Dan McCafferty. Als charismatischer Frontmann der schottischen Band Nazareth war McCafferty an mehr als 25 Alben beteiligt, veröffentlichte Hits wie 'Love Hurts', 'Dream On', 'This Flight Tonight' und 'Morning Dew' und tourte auf der ganzen Welt. Nach einer einzigartigen Karriere von 50 Jahren ist Dan McCafferty am 8. November 2022 im Alter von 76 Jahren gestorben. Sein Name wird in Erinnerung bleiben, seine großartigen Songs werden weiterhin auf unzähligen Rock-Radiosendern auf der ganzen Welt gespielt. Unentdeckte musikalische Schätze wurden in McCaffertys Privathaus Archiv aufbewahrt. Einige davon sind nun auf der posthumen Hommage zu finden: 'No Turning Back - In Memory of Dan McCafferty'. Die bisher unveröffentlichten Songs "Occident" und "No Turning Back" sind Originalaufnahmen aus den späten 1990er Jahren, die McCafferty mit dem deutsche Regisseur, Komponist und Musikproduzent Christoph Busse aufnahm. Der bisher unveröffentlichte Track 'Children's Eyes' stammt aus einer Kooperation mit dem Komponist und Produzent Detlef Wiedeke. Alle drei Titel zeigen die stilistisch enorme Bandbreite seiner rauen Rockstimme. Mit 'Into the Ring", "Starry Eyes" und "Sunny Island" folgen drei Stücke aus einer besonders ereignisreichen Karrierephase des schottischen Musikers. Die Songs wurden 1987 auf seinem inzwischen längst vergriffenen Soloalbum "Into the Ring" veröffentlicht. Das Album entstand zwischen den beiden Nazareth Klassiker "Cinema" (1986) und "Snakes'n'Ladders" (1989. Abgerundet wird "In Memory of Dan McCafferty" mit "Going Home" aus dem Jahr 1993 und aus dem gleichnamigen Album des kurzlebigen Projekts Seasons, mit original schottischem Dudelsack, Fiddles, Flöten und Schlaginstrumenten. Das Lied basiert auf dem Stück "Largo" aus der 9. Sinfonie "Aus der Neuen Welt" von Antonín Dvo?ák. Außerdem gibt es zwei aktuelle Coverversionen der Nazareth-Evergreens 'Love Hurts' und 'Dream On' als Bonustracks, gesungen von dem griechischen Sänger Panos Kalifis, dessen Stimmfarbe der von McCafferty verblüffend ähnlich ist. Last but not least: Auf dem Albumcover prangt ein Foto des jungen Dan McCafferty, während das Booklet zwölf Bleistift- und Kohleillustrationen enthält. "No Turning Back - In Memory of Dan McCafferty" ist ein musikalisches Must Have für jeden McCafferty/Nazareth und Hard Rock Fan.

RAUHBEIN sind nach ihrem Debutalbum, dass auf Anhieb Platz #20 der deutschen Album Charts erreichte, schnell über ihren Titel des Geheimtipps hinweggekommen. Mit Hits wie „Komm mit uns“ oder „Auf die Freundschaft“ erspielten sie sich die Herzen der Fans, eroberten die Charts und machten sich in Windeseile einen Namen.
Mit dem neuen Album „Herz eines Kriegers“ soll die Erfolgsgeschichte nun fortgesetzt werden. Auf den 13 neuen Titeln u.a. mit einem Gastfeature von In Extremo Frontmann Michael Rhein, beweisen Rauhbein gekonnt, wie sie die Elemente aus Folk, Rock und Metal miteinander verschmelzen lassen.
„Herz eines Kriegers“ schließt genau dort an, wo „Steh wieder auf“ aufgehört hat und beschert den Fans ein Album, das seines Gleichen sucht.

Die schwedische Metal-Band CORRODED veröffentlicht mit PLAGUE ihr sechstes Studioalbum, aus dem bereits 3 Singles ausgekoppelt wurden: 'Monster', 'The More Things Change' und 'Rain'. Auf den 2019er Vorgänger BITTER folgte eine ausgedehnte Europatour. Wie die meisten Bands traf sie die Pandemie hart, aber CORRODED stürzten sich in ein schwarzes Loch und nahmen PLAGUE auf. Sie kommentieren: 'Wir haben 5 'Kinder' ... jedes einzelne ist genauso wichtig wie die anderen ... aber dieses hier ist unser Liebeskind, unser ganz besonderer 'Spätzünder' oder 'Nachläufer', geboren aus der Angst und Langeweile der Pest ... bis auf das Mastering alles von uns selbst erledigt ... willkommen in der dunklen Seele von CORRODED ... genießen Sie die Fahrt.'

Raze Regal und James Petralli, der eine als E-Gitarrist erfolgreich, der andere Gründungsmitglied und Sänger der Indie-Rock-Legende White Denim aus Austin, Texas, lernten sich 2019 auf einer Tour an der US-amerikanischen Westküste kennen und schlossen schnell eine tiefe Freundschaft, die durch ihre gemeinsame Liebe für den Rock der 60er und 70er Jahre, die Innovationen des Jazzsaxophons und die Kompositionen von Eddie Harris, Joe Henderson und Wayne Shorter, die R & B-Produktionstechniken der 80er und die Energie des New Wave verbunden ist.

Das hier vorliegende Debütalbum der beiden Musiker ist ein zutiefst kollektives Album, in das beide Protagonisten jahrelang Blut, Schweiß und Tränen investiert haben, um eines der seelenvollsten Werke ihrer Karriere zu schaffen.

So strotzt "Raze Regal & White Denim Inc." nur so vor Jazzakkorden, Rockhooks, Soulgesang und Popmelodien, präsentiert sich frei von Retro- oder Throwback-Gefühlen und kann nur von Künstlern stammen, die die populäre Musik so gut kennen, dass sie sich über Referenzen und Hommagen hinwegsetzen können, um etwas angenehm Vertrautes und doch völlig Neues zu erschaffen. Ein Duo das mehr ist als die Summe seiner Teile.

Detroit music legend, Marcus Malone and Dan Smith of The Noisettes reveal their awesome new collaborative long player, ‘Interstate 75’, on Ramrock Red Records, loaded with 60’s style Rhythm and Blues, old school Soul and back to the future Funk. Across the album there’s 10 incredible songs loaded with finger snapping beats, hip swaying grooves, infectious brass and raw, soul-drenched vocals, all written and performed with the highest level of musicianship. From the empowering opening track, ‘Ain’t No Telling’ to the groovilicious album title ‘Interstate 75’, and the irresistibly funky ‘Other Side Of The River’, this stunning set of work joins the musical dots between 60’s Stax, Motown and Cadet, along with early 70’s Funk of Sly and The Family Stone and Eugene McDaniels, creating an instantaneous authentic classic vibe.

“I’ve got a future Blues classic on my hands with an indefinable time scale – it could’ve been recorded in the mid 70’s and feels like an instant crate diggers delight!” – Jo Wallace (Ramrock Records)

The BBC’s Third Programme aired four radio broadcasts between January 1964 and September 1965, collectively known as Inventions for Radio.

They were ground-breaking in both form and content, conceived by playwright Barry Bermange and consisting of the voices of the general public answering questions on four themes,

one for each programme: dreams, the existence of God, life after death and ageing. At a time when it was unheard of to give a media platform to anyone perceived as being of

low socio-economic status, the broadcasts generated many complaints for the “rough” voices of its participants.



Delia Derbyshire was assigned by the Radiophonic Workshop to edit and add electronic music/ effects.

The collaborative result is dreamlike and mesmerizing, an audial window to another era.

For many years Derbyshire was not credited for her contribution, nor were the broadcasts available commercially, although they still managed to acquire something of a cult following.



This boxset includes one LP for each broadcast and two further LPs of additional material.

There is a 20-page booklet with extensive notes by Mark Ayres (Producer) and David Butler, (one of the lead researchers and

curators of the Delia Derbyshire Archive and co-founder of Delia Derbyshire Day).

The insight into Derbyshire’s archive, her music and its influences and her collaboration with Bermange is fascinating, providing context for

these extraordinary pieces which have been the most elusive of Twentieth Century classics until now.

Die Doppel-LP folgt auf vier Live-Alben der Band, die seit Anfang des Jahres veröffentlicht wurden und mit Gästen wie Kelly Doyle, Ruben Moreno, The Suffers und Robert Ellis im Stubb's in Austin, Nubya Garcia im Radio City in New York, Men I Trust im RBC Echo Beach in Toronto und Toro y Moi im Fillmore in Miami aufwarten. Khruangbin sind bekannt für ihre Verbindung von Klängen aus aller Welt - darunter "eine Mischung aus R&B, Reggae, Surf-Rock, Melodien aus dem Nahen Osten, persischen Phrasierungen, lateinamerikanischen Rhythmen, Hip-Hop der 90er Jahre, westafrikanischer Instrumentierung, ätherischen Harmonien, psychedelischen Effekten und rumpeliger Disco" (Vanity Fair). Das Trio war mit zahllosen Welttourneen unterwegs und stand auf fast allen großen Festivalbühnen der Welt, darunter Glastonbury, Primavera und Coachella.

Limitiert auf 100 Stück

Dieter Moebius ist einer der wichtigsten Protagonisten der avantgardistischen elektronischen Musik in Deutschland (er ist/war Teil von Cluster und Harmonia). "Tonspuren" stammt aus dem Jahr 1983 und war sein erstes Soloalbum. Es enthält akribisch gefertigte Perlen elektronischer Musik mit Sinn für Pop-Melodien. Zum 40-jährigen Jubiläum des Albums gibt es eine auf 500 Exemplare limitierte, handnummerierte, rote Vinyl-Edition. eng Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany (He is/was part of Cluster and Harmonia). "Tonspuren" dates back to 1983 and was his first solo album. It features meticulously fabricated pearls of electronic music with a sense of pop melody. For the 40th anniversary of the album we"re making a limited red vinyl edition, hand numbered, 500 copies.

HEY,

after receiving so many requests as to whether the Tulpa Ovi releases could also be released on vinyl, we decided to just put ALMOST everything out on record. There will also be an exclusive song called LOSS BREDA FEAT. LYSANN ZANDER, and a damn brilliant edit by KAPOX GRAPÉN by JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

My music and I in the spirit of the times? But not before and neither behind? More like in between somewhere? A side street maybe; I like these better than the busy main streets anyways, as you can still discover things. That’s exactly where I want to be.

Robag Wruhme HEY,

nachdem wir so viele Anfragen erhalten haben, ob die Tulpa Ovi Releases nicht auch als Vinyl veröffentlicht werden könnten, haben wir uns dazu entschieden, einfach FAST alles auf Platte rauszuhauen. Es wird zudem ein exklusives Lied geben, welches
 LOSS BREDA FEAT. LYSANN ZANDER heißt, und ein verdammt genialer Edit von KAPOX GRAPÉN von JIMI JULES.

!!!! ALTER ALERT !!!!

Tulpa Ovi Records Bio:

Meine Musik und ich im Geist der Zeit? Aber nicht davor und auch nicht dahinter? Eher irgendwo dazwischen? 
Eine Seitenstraße vielleicht; die mag ich sowieso lieber als die belebten Hauptstraßen, da kann man noch was entdecken. Genau da möchte ich sein."

Robag Wruhme

Zur Feier des 10-jährigen Jubiläums von Biffy Clyros sechstem Studioalbum "Opposites" veröffentlicht die Band die EP "Black Chandelier/Biblical" aus dieser Zeit erstmals auf Vinyl. Diese LPs sind auf nachhaltigem Bio-Vinyl gepresst

Zum 35-jährigen Jubiläum des absoluten Evergreens und mit Gold ausgezeichneten Mega-Hits „Blueprint“ der Berliner Formation RAINBIRDS erscheint nun erstmalig eine strikt auf 1.000 Exemplare limitierte, farbige 10‘‘ in transparentem, blauem Vinyl.

Enthalten ist natürlich die originale „Blueprint“-Version, die bis zum heutigen Tag bundesweit auf allen erdenklichen Radiowellen gespielt und auch äußerst erfolgreich die digitale Transition ins Streaming-Zeitalter geschafft hat. Unterschiedliche Facetten der Rainbirds’schen Live-Qualitäten belegen die sehr unterschiedlichen LiveAufnahmen aus 1989 und 1998. Für Frontfrau und Rainbirds-Begründerin Katharina Franck liegt in der wilden Energie der früheren Version, die Essenz des Erfolges der Band.

Beide Versionen zeigen auch, wie sehr die Band bereit war gerade diesem Klassiker immer wieder neue Seiten abzugewinnen und diesen in neu arrangiertem Gewand on stage zu präsentieren. Über die abschließend enthaltenen 2014er Version sagt Katharina Franck selber: „Die Aufnahme hat den Drive und die Abenteuerlust des Originals, ist aber in einem sehr strengen Arrangement gefangen, welches eher die Ideen der Produzenten widerspiegelt, als den Song neu zu reflektieren.“

We Release Jazz is sooooo happy to announce the release of a very limited edition double LP for Boillat Thérace Quintet’s 1974 Montreux Jazz Festival performance, with 3 bonus studio tracks! This gem from the Geneva, Switzerland band follows the acclaimed WRJ reissue of their self-titled album (1974) and My Greatest Love (1975), their full-length with Benny Bailey. The 300-copies-only white sleeved DLP comes with the classic obi and features fully remastered audiophile-ready recordings.

Captured live at Montreux Jazz Festival, July 3rd 1974, this rare audio treat features Boillat Thérace Quintet fan-favorites including their infamous homages to Swiss Marmite ("Cenovis"), and Geneva's public transport line Tram 12 ("1224"), as well as remarkable renditions of timeless jazz numbers by Freddie Hubbard ("Straight Life" and "Backlash") and Chick Corea ("Spain").

Additionally, the double LP offers 3 bonus songs taken from the ensemble’s sessions for their self-titled debut: superb takes on Herbie Hancock’s "Dolphin Dance", Wayne Shorter’s "Adam’s Apple", and Claude Engel’s "5th of July, Dulong Street".

All in all it’s a beautiful soul-jazz/modal fest full of flair and heart, one that perfectly encapsulates the vibrant and inventive Swiss jazz scene of the 1970s. A must have for fans and collectors.

This new album from We Release Jazz follows the label’s celebrated releases of the Ryo Fukui catalogue (Scenery, Mellow Dream, A Letter from Slowboat, Ryo Fukui in New York, My Favorite Tune), Hiroshi Suzuki’s seminal Cat album, and Le Cercle Rouge soundtrack by Eric Demarsan among other jazz wonders.

In 2020, Pali Meursault and Thomas Tilly collaborated to create Radio Glaces, a fourteen-part sound collection featuring recordings of glaciers in the Alps and testimonies from people who have a close relationship with this environment: glaciologists, geomorphologists, hut wardens, mountaineers and high-mountain guides.

As a continuation of this first project, Melt* was a series of improvised performances by the duo of sound artists, playing back the sounds and vibrations of the glaciers as they conducted a microphonic auscultation of the crevasses, rimayes and torrents of the Oisans mountain range.

The outcome of a research project that began over three years ago and is still ongoing, Melt* is based on the recording of a concert at GMEA (Albi) in early 2023, and is available as a vinyl record published by Fragment Editions.

Credits

Sound recordings made in 2020 on the glaciers of Mont-de-Lans, la Girose, Sarenne, la Pilatte and Saint-Sorlin (Oisans-Écrins, France), for the Radio Glaces project.

Field recordings, sonified ice, processing and sine waves played live by Pali Meursault & Thomas Tilly at Grand Théâtre d’Albi on February 4th, 2023, in the frame of ‘L’Expérience du Terrain’, a program by GMEA.

Recording by Benjamin Maumus. Mastering and Cut by Frédéric Alsdat/Ångström.

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

Toots Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias founded The Maytals in 1962. The Jamaican musicians became one of the best known ska and rocksteady vocal groups and helped popularizing reggae music during the Sixties. Their 1968 single “Do The Reggay” was the first song to use the word “Reggae”, resulting in the Oxford English Dictionary crediting Toots and The Maytals in the etymology of the word “Reggae”.

Following their signing to Island Records in 1973 they recorded and released their fourth album From the Roots. The album was recorded with Leslie Kong and features some of The Maytals’ most explosive tunes, while their predilection for gospel is still audible.

From The Roots is available on black vinyl.

Das dritte Studioalbum von bbno$ und Yung Gravy, zusammen bekannt als BABY GRAVY, enthält die Singles 'You Need Jesus', 'Goodness Gracious' und 'No Way Jose'. BABY GRAVY sind die Siegfried & Roy des Meme-Rap. Ihre LP erscheint auf transparent-babyblauem Vinyl im Gatefold mit bedruckten Innenhüllen und einem 12 x 24 Zoll grossen Poster.

Harp – das gemeinsame Projekt von Tim Smith (ehemaliger Sänger und Songwriter von Midlake) und seiner Frau Kathi Zung – kündigen ihr Debütalbum "Albion" (via Bella Union) an.

"Es ist nicht das Ziel, es ist die Reise", schrieb schon der amerikanische Philosoph Ralph Waldo Emerson. Doch bei Smith scheint das Gegenteil der Fall zu sein. Der Weg zu "Albion" mag lang und kurvenreich gewesen sein, und holprig obendrein, aber die Musik, die Harp geschaffen hat, ist voller schöner Melodien, Dramatik und Details. Die zehn Songs und zwei zur Stimmung passende Instrumentals werden umrahmt von akustischen und elektrischen Gitarren, sanften Keyboardtönen und Smiths besonderer Stimme; mit anderen Worten, die Quintessenz dessen, was die Leute in erster Linie zu seiner Arbeit mit Midlake hingezogen hat.

Auf dem neuen Album ist alles jedoch in etwas dunkleren Tönen gehalten. Es sind Lieder über den Zustand des Menschen, von verlorener und gefundener Liebe, von Angst bis Freude, von Furcht bis Akzeptanz, alles in eine sehr eigene poetischen Sprache verpackt. "Albion" wurde von Smith größtenteils allein zu Hause aufgenommen, mit Gastbeiträgen des ehemaligen Midlake-Bassisten Paul Alexander bei "Silver Wings" und "Throne Of Amber", E-Gitarren von Max Kinghorn-Mills von der Band

Love, Drugs & Misery ist das lang erwartete Album von Eva Under Fire. Das Album hat eine Botschaft der Inklusivität und Selbstliebe mit Songs wie "Coming for Blood" mit Mat von From Ashes To New. Es enthält auch den Radiohit "Blow" mit Spencer Charnas von Ice Nine Kills.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

"Smart Ass Black Boy: Redux" ist die zum 10-jährigen Jubiläum neu abgemischte und neu gemasterte Ausgabe des zweiten Studioalbums des Houstoner Rappers Fat Tony und des ersten Albums für Young One Records (einem frühen Partisan-Imprint).

"Smart Ass Black Boy" war eine der am meisten gefeierten Hip-Hop-Platten des Jahres 2013 und wurde schließlich zu einer der beliebtesten Houstoner Rap-Platten der 2010er Jahre. Das Album landete auf den Jahresendlisten von Complex und VICE, während Noisey und Pitchfork die Videos zu "BKNY" bzw. "Hood Party" uraufführten. Es wurde in der First Listen-Serie von NPR vorgestellt, wo es als "refreshing" und "promising" beschrieben wurde, während Pitchfork sagte das Album "absolutely knocks". Robert Christgau gab der Platte eine A-Bewertung ("homespun and imaginative"), und Rolling Stone nannte sie einen "thoroughly enjoyable batch of smart-ass raps". Fat Tony hat seitdem Platten mit Don Giovanni und Carpark veröffentlicht, zuletzt in diesem Jahr "I Will Make a Baby in this Damn Economy".

Das Album enthält einen noch nie zuvor veröffentlichten "BKNY (Remix)" mit neuen Versen von Mr. Muthafuckin' eXquire, Melo-X und GLDNEYE.












[l] B6. BKNY [Remix] (feat. Mr. Muthafuckin' eXquire, Melo-X, and GLDNEYE) (Redux)

Limitierte Neuauflage von Scanners drittem Album "Mental Reservation" als Transparent Orange Vinyl. Diese besondere Version enthält das rare 1994 Demo "Conception Of A Cure" auf Seite D. Eine längst überfällige Neuauflage dieses zeitlosen Klassikers, ursprünglich 1995 erschienen. Die letzte LP Auflage erschien im Jahr 2015. Dieses lange vergriffene Meisterwerk nun endlich wieder erhältlich.

Drawing inspiration from his homeland Germany, with a particular focus on the organic house and techno scene of Berlin, Sanoi has meticulously crafted Echoes Of Home to reflect his diverse influences.

Echoes Of Home finds Sanoi challenging conventional music production norms, steering clear of familiar tropes and techniques. The result is eight carefully curated tracks with a rich tapestry of ambient layers, recorded sounds, and melodies that range from quirky and playful to nostalgic and melancholic. The finely crafted drums take centre stage, emphasising the unique groove that defines Sanoi's distinctive sound.

The album traverses warm, bouncy & melodic house music, with touches of deep-house, techno & organica. While largely instrumental, the album’s centrepiece is a collaboration with Christchurch artist Beacon Bloom on the track ‘Silver’. Both artists previously collaborated on the popular single ‘Club Jesus’, once again featuring Ryan Ferris' delicate yet strong vocals. The final track on the album, ‘Moon Boy’ offers a few moments of quiet as the journey draws to an end with just Sanoi & his piano.

Created at his home in Auckland, and road-tested across multiple live performances across NZ & Australia over the past two years, Echoes Of Home sees Sanoi’s composition & production step up another level. Available on limited edition vinyl, the digital release also includes an eclectic collection of four remixes from acclaimed New Zealand artists micronism & Paige Julia, alongside German producers Gabriel Ananda & Fabian Krooss.

Over the past five years, Sanoi has become an integral part of the growing underground house and techno scene in New Zealand, all the while expanding his international presence with releases on labels Bar 25, Stil Vor Talent, Magician On Duty, and Zehn Records. Sanoi's music has already gained support from student radio stations in New Zealand and has caught the attention of tastemaker DJs worldwide

Im September 1968 spielte AMON DÜÜL bei den "Internationalen Essener Songtagen", dem ersten fünftägigen Rockfestival Deutschlands, das der spätere Ohr-Labelchef Rolf-Ulrich Kaiser initiiert hatte. Der Berliner Musikproduzent Peter Meisel hörte und sah die Band dort und nahm sie spontan unter Vertrag, zusammen mit Tangerine Dream und Birth Control. AMON DÜÜL stand der Berliner "Kommune 1" nahe und entstand zu einer Zeit, da jeder ein Künstler war, der einer sein wollte. Und so konnte auch jeder, der wollte, ein Musiker sein. Zusammen, im Kollektiv, war alles möglich. Angelika und Helge Filanda, Wolfgang Krischke, Ulrich Leopold, Rainer und Ella Bauer, Peter Leopold sowie Uschi Obermaier spielten in Meisels Studio zeitgemäß high in the sky eine Session ein, die alle Regeln durchbrach und alle Hörgewohnheiten auf den Kopf stellte. Die Aufnahmen wanderten zunächst in den Giftschrank, erst ein Jahr später traute sich Meisel, sie unter dem Titel Psychedelic Underground zu veröffentlichen. Hier ist die Fortsetzung: Die Doppel-LP Disaster/Lüüd Noma erschien 1972, als es die Gruppe AMON DÜÜL schon nicht mehr gab, und sie präsentiert weitere Aufnahmen aus derselben Session. Alle Titel sind surreale, unübersetzbare Wortspielereien, die Stücke sind klanglich besser organisiert, weniger fragmentarisch, klarer voneinander abgesetzt und ausgefeilter nachbearbeitet als auf der ersten LP - der ausgenzwinkernd mitgelieferte Hinweis, alle Störungen und Fehler seien beabsichtigt, hat aber gleichwohl einen wahren Kern. Nun sind diese denkwürdigen Aufnahmen wieder zugänglich, remastered von den analogen Originalbändern. Sie sind das Dokument einer Zeitstimmung, die unwiederholbar geblieben ist. Wer sich für die Anfänge des Krautrocks ernsthaft interessiert, kommt an diesem Album nicht vorbei - das Disaster wartet auf Sie!

NOTON IS PLEASED TO RELEASE RAY COLLECTOR - A LIMITED EDITION VINYL FEATURING RECORDINGS SOURCED FROM TAPES PRODUCED BY CARSTEN NICOLAI' FOR HIS 2023 SOLO EXHIBITION STRAHLEN/RAGGI AT FONDAZIONE MODENA ARTI VISIVE.
IN FEBRUARY 2022, CARSTEN NICOLAI DISPATCHED TEN PARCELS FROM BERLIN TO VARIOUS DESTINATIONS. EACH PACKAGE CONTAINED A BLANK MAGNETIC TAPE CASSETTE, AN ILFORD DELTA 3200 ISO 1000 BLACK-AND-WHITE FILM, AND A KODAK ISO 800 COLOR NEGATIVE FILM. ALL PARCELS WERE ADDRESSED TO THE SAME RECIPIENT, MR. NEMO, THE UNFORGETTABLE CAPTAIN OF THE SUBMARINE NAUTILUS IN TWENTY THOUSAND LEAGUES UNDER THE SEA. THE IDEA WAS FOR THE RECIPIENTS TO RETURN THE PARCELS TO THE SENDER. EACH PACKAGE HELD MAGNETIC TAPES AND PHOTOSENSITIVE FILMS THAT WOULD BE EXPOSED TO ELECTROMAGNETIC WAVES AND RADIATION DURING THEIR JOURNEY. UPON THEIR RETURN TO THE SENDER, THE LATENT IMPRESSIONS WERE DEVELOPED, DIGITIZED, AND THUS MADE BOTH VISIBLE AND AUDIBLE.

Bryan Adams, der preisgekrönter Singer/Songwriter, hat sich als einer der besten Rocksänger und Showman etabliert. Seine Live-Konzerte und sein einzigartiger Stil aus Wohlfühl-Rock'n'Roll und Hit-Balladen sind weltweit bekannt.

Im Jahr 2022 trat er in der historischen Royal Albert Hall in London auf und präsentierte an drei Abenden seine klassischen Alben "Cuts Like A Knife, (Abend 1)" "Into The Fire" (Abend 2) und "Waking Up The Neighbours" (Abend 3). Diese bemerkenswerten Live-Auftritte werden nun in einem Vinyl- und CD-/Blu-Ray-Box-Set veröffentlicht.

Bryan Adams' Musik hat in über 40 Ländern Nummer-1-Status erreicht, und er ist Träger zahlreicher Auszeichnungen, darunter 3 Oscar-Nominierungen, 5 Golden-Globe-Nominierungen, einen Grammy Award und mehrere Juno Awards. Mit der Veröffentlichung dieser Live-Alben aus der Royal Albert Hall setzt er seine beeindruckende musikalische Reise fort.

Having met as teenagers touring the late-‘90s North American post-punk scene, guitarist/vocalist Sean Madigan Hoen and drummer Dan Jaquint established an ongoing musical collaboration that for years remained a mostly-private endeavor relegated to cassette-only releases. After living together in Brooklyn, the duo found themselves returning to their home state of Michigan in 2018 where they reconnected with Detroit’s music scene and formed KIND BEAST. Taking its name from the writing of Carl Jung, KIND BEAST is at once a distillation of several decades of electric guitar music and a lyrical exploration of shadow themes and deep-psyche explorations. Described by NPR affiliate WDET as “perfect for late-night freedom cruising on the outskirts of town,” the music is sophisticated and nocturnal, metabolizing ‘70s arena rock and Krautrock as readily as the post-Fugazi cannon on which its members were raised. What commences is a vast blending of rock swagger infused with a distinctly-Detroit eeriness, set to Hoen’s (a widely-published author) imagistic lyrics. Joining Hoen and Jaquint are bassist Sean Bondareff (known for a fifteen-year stint with Mitch Ryder and The Detroit Wheels) and guitarist Martin Rodgers, fifteen years younger than the other members and who has made a name for himself as one of Detroit’s most talented guitarists. KIND BEAST pays little homage to Hoen and Jaquint’s teenage bands (Thoughts of Ionesco and Small Brown Bike, respectively) and finds itself most often compared to mature constituents of the rock/pop pantheon such as Arctic Monkeys, Spoon, and Queens of the Stone Age while discerning listeners pinpoint a deeper influence of the great indie labels of yore (Touch and Go; Dischord).

ZWEILASTER SAYS Dies ist ist unsere Platte! Sie wurde aufgenommen im Frühjahr/ 1. Quartal 2022. Das wurde SO gemacht von uns und unserem Pro-duzent Julian Knoth. In dem Album gehts um Pain und Joy, - echte Kunstheraphie halt! "Scheiblettenkäse und Sehnsucht ist ein witziges Drama, gespielt von zwei introvertierten Cholerikern!"(*innen) Viel Spass von Arno und Marie! PS: Das Album gibts schon seit 2022, also ist nur neu, dass es jetzt vom lieben Thomas Götz von "Tomatenplatten" auf Vinyl rausgebracht wurde. Cover von Maxi Messer.

Das Kasseler Duo Some More Crime formierte sich 1990 mit der Idee, die gesprochene, aus Pre-Internet-Medien gesampelte Stimme als ausschließliches Text-Instrument einzusetzen. Während des Kunststudiums hatte sich der Trommler Bernd Friedmann (Burnt Friedmann / Nonplace Urban Field) mit dem Gitarristen Frank Hernandez zusammengetan, um die Abgründe des Zusammenhangs von Gewalt in den Medien, bzw. mind control, zu studieren und zu verstehen, und diese im Studio als Quasi-Collagen mit Grooves zur Entfaltung zu bringen. Some More Crime kann heute gewissermaßen als Nachzügler von Laibach, oder als konzeptueller Vorläufer von Rammstein betrachtet werden. Mit Ihrer dritten, 23 Titel umfassenden CD schafften es die Konstrukteure an Samplern und Atari-Sequenzer, Frank Hernandez und Burnt Friedman 1993 schliesslich in den Fokus internationaler Aufmerksamkeit zu kommen. Ihre überwiegend aus dem Amerikanischen gewonnenen, de-kontextualisierten Text-Cluster aus Interviews mit Gewaltverbrechern und damit verbundenen Medienkommentaren versuchte zu zeigen, dass die steifer werdende Deutungshoheit der Medien-Narrative zumindest eines vermochte, nämlich anstatt sinnstiftend zu wirken, die Massen in Angst und Verwirrung zu versetzen. Mit Friedmann's Umzug nach Köln wurde Some More Crime bereits 1994/95, also nach 3 Studio Alben beendet. Im Alleingang erzeugte Friedmann eine vierte, allerdings wenig beachtete CD, die angefangene Skizzen 1996 noch zur Vollendung und Veröffentlichung brachte. ZZO recordings Gründer Thomas Luckmann, Nürnberg, nahm sich des Duos 1990 an und unterstützte die künstlerische Arbeit trotz starken Seitenwinds des aufstrebenden, unwiderstehlichen Technosounds, der Anfang der 90ziger durch Deutschland's Musikszene zu wehen begann.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.