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"The Last Supper", original erschienen 2005, war das 12. Studioalbum der Band. Mit einem Chartentry auf #39 war es zudem das zweit erfolgreichste in der bisherigen Karriere von Grave Digger.
Das Konzeptalbum beschäftigt sich mit den letzten Tagen von Jesus Christus. Für das Artwork war erstmalig der international renommierte Künstler Gyula Havancsak verantwortlich.
Der nun vorliegende Re-Release erscheint als Ltd. Edition Grün Transparentes Vinyl und enthält neue Liner Notes von Chris Boltendahl.

"The Last Man On Earth" ist das neue Soloalbum von Lee Small. Wegen seiner melodischen, souligen Stimme wird er oft mit Künstlern wie Glenn Hughes, Bobby Kimball und Steve Walsh verglichen. Er hat sich weltweit als Künstler etabliert und war als Sänger auf mehr als 40 Aufnahmen zu hören, darunter Tom Galley's Phenomena Projekt, Shy, Signal Red, Ten und viele andere.

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

In early 2003, Calexico released their seminal album ‘Feast of Wire’, the album that truly marked the duo’s critical and commercial breakthrough. Beginning in June, the band will play a series of headline shows across the year performing the landmark ‘Feast of Wire’ in full as well as a slew of beloved songs from the band’s full repertoire. In addition to the headline dates, the band will play a handful of festivals as well across Europe

City Slang releases a re-mastered deluxe edition of the album incl bonus track and a bonus live album.

Begleitend zu den 1973er T.Rex-Releases wird Demon Records die Singles aus 1973 als limitierte 7"-Picture mit hohem Sammlerwert herausgeben. Der Song '20th Century Boy', ursprünglich März 1973 veröffentlicht, erreichte in den UK # 3, kehrte aber im August 1991 in die britischen Top 20 zurück und erreichte nochmal # 13, nachdem er in einer TV-Werbung für Levi's mit Brad Pitt verwendet wurde.

African Singer-songwriter Blick Bassy is back with a fifth album, again sung in the Baasa language of Cameroon. Madíbá brings together twelve songs in the form of fables, dedicated to the theme of water, in which his high and angelic voice dominates, carried by delicate guitar, synthesizer melodies, and sober brass arrangements. The cuts are diaphanous and nevertheless modernist songs, which testify to a contemporary and poetic Africanity at the crossroads of soul, folk, and electro.

Blick Bassy’s albums have a humanist and universal dimension. His fifth and new solo album, titled Madíbá, which means water in the Douala language of Cameroon, comes in the form of songs close to the fable, in which Bassy explores "a theme shared by all” of water, the source of life.

The fables of the album, all born in the imagination of Blick, explore in a more concrete way different themes related to water, its rarity, its necessity, its energy or its vital power. The twelve songs all bring together a series of figures, animals, or various characters, embodied in turn by Blick Bassy. "I have fun stepping into the shoes of a bird, a cat conversing with an elephant, a flower worrying about its declining beauty, a monkey looking for a spring or a storyteller with his grandchildren. In these texts, water can even take on a human appearance.”

Beyond the tale, the texts of the album also refer to our climate crisis, or to the problems of access to water, a way for the artist to approach serious subjects through a poetic form which avoids didactic or moralizing speeches.

Back with his second full-length release of 2022 and follow-up to the wildly successful album, “FACE,” Babyface Ray gifts fans with “MOB,” an 18-track album featuring tightly selected appearances by Lil Durk, Blxst, Ninja, Doe Boy, Samuel Shabazz,King Hendrick$ & GMO Stax. 2022 was a banner year for Ray, with him being named to XXLs Freshmen class of 2022, as well as being elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. He also embarked on his first sold out nationwide headlining tour, and appeared at several notable festivals, including Rolling Loud, Lyrical Lemonade's Summer Smash, Made In America, Wireless Fest, Broccoli City and others. After making a late night appearance on Jimmy Fallon, Ray announced his second headline tour slated for 2023, entitled “Courtesy of the MOB.” If one thing is clear, it’s that Babyface Ray is a force to stay for years to come.

* In Katta's music, ancient and modern worlds come together, the sacred meets the profane, and technological chasms are crossed: you might hear her play on some of the world's most treasured pipe organs in churches and cathedrals, or on her state-of-the-art, custom-built electric touring organ - and whether the ambience is provided by the dreamy acoustics of vaulted sacred spaces, or electronic soundscapes weaving in and out of her organ lines, the spirit of her music is unmistakable: ethereal, experimental, arresting.

* Katta first came to international prominence as a classical organist and harpsichordist, performing with orchestras such as Anima Eterna (with Jos van Immerseel), Zurich Chamber Orchestra (with Sir Roger Norrington), the Royal Flemish Philharmonic, and the Prague Symphony Orchestra - but it was when she started writing and performing her own music that her artistic identity truly asserted itself. 2016's 'Veni Sancte Spiritus' album was the first to showcase her compositions – other-worldly, spiritual works featuring distinctive vocals and tinkling, percussive bells: by turns lyrical and jarring, they seemed to come from a distant and mysterious past, and yet to belong entirely to the present. Katta’s original vocal/instrumental project Vox Organi won a prize at 2018 Classic Prague Awards.
* Katta also finds inspiration in collaborating with other artists, from British violinist Daniel Hope to American organ sensation Cameron Carpenter. This year she performed at Olavsfest in Norway, taking the stage right after a set from Björk. Her new album 'Vox Organi' will be released soon on Berlin label Emika Records, and Katta has been performing material from the album on her recent tour of the same name.

Sound Metaphors and Transmigration explore the early underground Goa party scene with a 2x12” compilation.

A collection of Techno, Italian-House, New Beat and Post Punk all heard on the same dancefloors amongst Goa's tropical beaches during the late 80's and early 90's. What is now understood as Goa Trance was once preceded by an amalgamation of many different genres smuggled to Goa in tape format by true music devotees that filtered through all that was being produced in the West shaping a unique dancefloor sound that could only pertain to the “Special Goa Music” genre. Sound Metaphors teams up with Transmigration and journalist, DJ and first hand witness of the scene at hand - Ray Castle – to present a meticulous body of research into the sound signature of that unique scene. 11 highly sought after tracks presented in a double LP gatefold format with an A1 poster insert and insightful liner notes by Ray Castle. A tracklist so lush, your discogs wantlists will forever be grateful – buy on sight.

“Everything about the Goa counterculture was illicit. The music from vinyl was bought with black market money and bootlegged onto cassettes and backpacked to India. Collectors and DJs would swap, dub and edit it, for free parties. The music was disseminated tape-to-tape by a clandestine traveller clique of ragtag party makers. This highly coveted ‘Special Goa Music’ contained a vibe—a brain-infesting vibe—capable of triggering apotheosis-like states for dosed up dancefloors, only possible for sunrise Goa parties in nature, in India.” - Ray Castle

After her debut on Mannequin in 2019, Dissemblance now arrives on L.I.E.S. with her second full length of sombre, cold wave and emotional bedroom pop infused songs. This time around we hear the Parisen artist add a new arsenal of instrumentation to her repertoire, incorporating live drumming and a wide array of synthetic instrumentation on top of her drum computers providing a backdrop to showcase her stark vocal performances throughout the album.

Meticulously constructed, this record displays the full range of Dissemblance's musical dynamics as she pulls the listener into her universe where dreams and reality tread a thin line, one blurring into the next with no beginning nor end. From the plodding opener "Mercure" where tortured voices rise from a bed of pulsing synth tones, to the tribal drumming dreamscape conjuring rhythms of "Centauresse" or heart wrenching album closer "Bon Voyage" with its ghostly 1950s oldies arrangement and pop feel, Dissemblance expertly brings together a diverse group of styles and sounds from different areas of the electronic spectrum making them her own.

An extremely unique and strong display of modern minimal synth pop that pulls equally from the past whilst propelling towards the future. Limited to 300 copies worldwide.

Mambo Diablo is a 1986 Grammy winner in the Tropical Latin album category. It remains as one of the most distinct Latin albums to bridge the gap between Jazz and Latin music ever.

Tito was a multi-Grammy winner, and this album features his all-star band of Bobby Rodriguez, Sonny Bravo, Jimmy Frisaura, John “Dandy” Rodriguez and even includes Jazz legend George Shearing.

The album is reissued for the first time in decades in honor of Tito’s centennial.

This 45 features two new artists from the ever-expanding Colemine universe: Pale Jay, a budding artist, and Steve Okonski (as Okonski) of Durand Jones and the Indications. The A-side is a collaboration between the two artists. By The Lake is a Neo Soul flip of the Okonski piano tune that's poignant and upbeat at the same time. The lyrics come from a conversation that Pale Jay had recently with a close friend who was pondering moving to a new city to pursue a budding love affair, but ultimately chose to stay put because they had not overcome an old heart break. When he heard Okinski's song, Runner Up, from his upcoming album, he immediately latched onto the lingering feeling of speaking to his friend and wrote By The Lake in the next thirty minutes after chopping up Okonski's piano samples. The B-side, Runner Up, features the original track by Okonski. Recorded at the Colemine HQ in Loveland, OH, Runner Up exhibits a triumphant yet melancholic melody in the piano that leads to a more reserved Bsection driven by the drums and bass of Aaron Frazer and Michael Isvara "Ish" Montgomery.

In a club scene saturated with the Minneapolis sound, Luck Rosenbloom was searching for something different. Using Korgand Moog synths, Steinway Concert Piano and a Boss DR-110 Dr. Rhythm, he created his own funky fusion sound to spread the word of God to the mainstream. Recorded at Minneapolis's Custom Record Studios he cut 200 copies of this elusive 45 of which only a few known copies exist. The record was promoted on his cable access TV show "Lucky Mania TV" where he encouraged kids to say no to drugs and take their vitamins.

In May 2016, Trevino a.k.a. Marcus Intalex released his acclaimed debut album, 'Front', on his own Birdie label. Almost exactly seven years on, the follow up album 'Back' will be released posthumously, marking the final Trevino album. The release date is scheduled for the 26th May to mark the six year anniversary of Marcus passing (28th May 2017).

Although most of the tracks for 'Back' were made during Marcus' time in Berlin, he moved back to Manchester in early 2017 to make the most of his home studio. The Trevino moniker was an output for Marcus to return to his love of house and techno, inspired by his experience of working in record shops from a young age where he would be receiving records spanning across Chicago house and Detroit techno - most notably referencing the Belleville Three as a key influence.

The producer, named after his favourite golfer Lee Trevino, has loosely based the two-part album project on the 'Front' nine and 'Back' nine holes in the sport. This theme runs throughout, with the artwork based on the plans for Hillside golf course.

‘Where is Agartha? What is the specific region in which it lies? Along what road, through what civilizations, must one walk in order to reach it?.’ Saint-Yves d’Alveydre in 1886

Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still retaining his unique sonic imprimatur; in this respect, it’s perfectly at home with Kompakt, a label that’s always encouraged artists to make the visionary music they need to create, to take risks and make sideways steps into uncharted territory.

An eloquent producer and DJ, Igarashi has been releasing techno for eleven years now, appearing on such imprints as The Bunker NY, Delsin, Midgar, and Time To Express; he has also self-released his productions via his WIP net label. Throughout, Igarashi has consistently explored his unique approach to techno and electronic music, one that’s eloquent and poised, even when it shifts into more psychedelic terrain; he’s a master at balancing the sensual and the functional, and he has an unerring ear for the right texture, the right tone, at the right time. He brings all of this into Agartha, his most thorough-going expression of self to date.

For Agartha, Igarashi had a strong concept he wanted to explore. Visualising specific scenes from an imaginary film based on the titular secret kingdom, he created soundtracks for those scenes, spending time during the pandemic in his studio, working away carefully at the ten tracks here. Given his background in creating music for television and advertisements, Igarashi is well-placed to explore the marriage of the sonic and the visual in such intimate ways, but freed from commercial concerns, he let his imagination run riot. He also drew on a rich palette of musical influences – techno is in there, of course, but you can also hear the smoky, improvised jazz of the likes of Miles Davis (to whom the album’s title is an indirect nod), and the minimalism and systems music of Steve Reich.

The latter is particularly pronounced on the gorgeous, beatless drift of “Floating Against Time”, where an arpeggiated sequence lingers, lovingly, around your ears for nine blissful minutes, coasting across swooning drones and waves of ambient noise. “Ceremony Of The Dead”, originally composed as part of a Sony 360 Reality Audio spatial sound concert, is a deep pass into systems composition, with various patterns overlaid and interlocking, before a wordless vocal rises from the depths, a gorgeous counterpoint to the swarming textures that gather across the track. On the other hand, tracks like “Burning” and “Subterranean Life” nudge toward Fourth World territory, painting deluxe dreamscapes of uncertain provenance; the title cut is an abstract drift-world, Igarashi painting an alien tableau dotted by shape-shifting creatures.

Agartha’s conceptual framework means that everything on the album sits perfectly together; listening to it in one sitting is a dizzying, lush experience. Its imaginings of inner landscapes recall, in some respects, the nautical, aqueous mythologies of the Drexciyan universe, though from different perspectives. But the result is Igarashi’s own creation, a deluxe, enchanting trip through the visionary Agartha of this unique producer’s cinematic mind’s-eye.

Wo liegt Agartha? In welcher spezifischen Region liegt es? Auf welchem Weg, durch welche Zivilisationen muss man gehen, um dorthin zu gelangen?'

Saint-Yves d'Alveydre im Jahr 1886

Agartha, das Debütalbum des japanischen Produzenten Wata Igarashi, ist ein geheimnisvolles, göttliches Ding. Benannt nach dem mythischen, geheimen Königreich, das als ein komplexes Labyrinth unterirdischer Tunnel verstanden wird, die vielleicht von Marsmenschen angelegt wurden, die vor Zehntausenden von Jahren die Erde kolonisierten, ist es eine ähnlich mystische, vielleicht sogar kosmische Reise - aber dieses Mal erforscht es einen inneren, zutiefst persönlichen Kosmos. Wunderschön detailliert und voller reichhaltiger Begebenheiten, führt es Igarashis Musik an neue Orte, die dennoch seine einzigartige klangliche Handschrift bewahren. In dieser Hinsicht hat es bei Kompakt ein perfektes Zuhause gefunden - einem Label, das Künstler immer ermutigt hat, jene visionäre Musik zu machen, Risiken einzugehen und seitwärts Schritte in unbekanntes Terrain zu tun.

Der eloquente Produzent und DJ Igarashi veröffentlicht seit elf Jahren Techno auf Labels wie The Bunker NY, Delsin, Figure und Time To Express; außerdem hat er einige Produktionen über sein Label WIP net selbst veröffentlicht. Dabei hat Igarashi stets seinen einzigartigen Ansatz für Techno und elektronische Musik verfolgt, der kontrolliert und ausgeglichen ist, selbst wenn er sich in psychedelisches Terrain begibt; er ist ein Meister der Balance zwischen dem Sinnlichen und dem Funktionalen und hat ein untrügliches Gespür für die richtige Textur, den richtigen Ton zur richtigen Zeit. All das bringt er in Agartha ein, dem bisher umfangreichsten Ausdruck seiner selbst.

Für Agartha hatte Igarashi ein starkes Konzept, das er erforschen wollte. Er stellte sich bestimmte Szenen eines imaginären Films vor, der auf dem titelgebenden geheimen Königreich basiert, und schuf Soundtracks für diese Szenen. Während der Pandemie verbrachte er Zeit in seinem Studio und arbeitete sorgfältig an den zehn Tracks. Mit seinem Hintergrund als Komponist von Fernseh- und Werbemusik ist Igarashi prädestiniert dafür, die Verbindung von Klang und Bild auf solch intime Weise zu erforschen, aber frei von kommerziellem Dünkel ließ er seiner Fantasie freien Lauf. Er schöpfte auch aus einer reichen Palette musikalischer Einflüsse - Techno ist natürlich dabei, aber man hört auch den rauchigen, improvisierten Jazz von Miles Davis (an den der Titel des Albums eine indirekte Anspielung ist) und den Minimalismus und die Systemmusik von Steve Reich.

Letzteres ist besonders ausgeprägt in dem wunderschönen, beatlosen "Floating Against Time", wo eine arpeggierte Sequenz neun Minuten lang liebevoll um die Ohren fliegt und über schwelende Drones und Wellen von Umgebungsgeräuschen gleitet. "Ceremony Of The Dead", ursprünglich als Teil eines Sony 360 Reality Audio-Raumklangkonzerts komponiert, ist ein tiefes Eintauchen in eine Systemkomposition, bei der sich verschiedene Muster überlagern und ineinander greifen, bevor sich ein wortloser Gesang aus der Tiefe erhebt, ein wunderschöner Kontrapunkt zu den wimmelnden Texturen, die sich über den Track legen. Andererseits bewegen sich Tracks wie "Burning" und "Subterranean Life" in Richtung der Vierten Welt und malen luxuriöse Traumlandschaften ungewisser Herkunft; der Titeltrack ist eine abstrakte Scheinwelt, in der Igarashi ein außerirdisches Tableau malt, das von formwandelnden Kreaturen übersät ist.

Der konzeptionelle Rahmen von Agartha ermöglicht, dass alles auf dem Album perfekt zusammenpasst; es in einem Zug durchzuhören ist eine schwindelerregende, opulente Erfahrung. Wata's Vorstellungen von inneren Landschaften erinnern in gewisser Hinsicht an die nautischen, wässrigen Mythologien des drexciyanischen Universums, wenn auch aus einer anderen Perspektiven betrachtet. Aber das Ergebnis ist Igarashis ureigene Schöpfung, ein luxuriöser, bezaubernder Trip durch das visionäre Agartha dieses einzigartigen Produzenten mit seinem cineastischen Blick.

Kundan Lal is a highly understated artist. Little is known about his background, though some refer to him as Kunsaf Halil, his personal life remains largely a mystery.

Gathering a cult following amongst people like Den Sorte Skole or DJ Marcelle with his previous releases, he is now set to sail new shores. There is a sense of wanderlust as he opens his box of field recordings, collected on his many travels. From the buzzing streets of Alexandria, early sunday markets in Tafraoute or a crackling bonfire down by the banks of the river Ganges. Each track takes you places.

Kundan's second album is a captivating blend of dubby beats, collages, and exotic instrumentation. Drawing from classic tools like the Roland 808, SC7 and the famous Space Echo, Kundan has created a unique and minimalistic sound that is sure to captivate listeners. At once nostalgic and experimental, "Power of Ra" is a must-listen for both electronic music purists and fans of adventurous soundscapes.

Compelled to work from home on his computer during lockdown, Kundan dusted his pawnshop e-piano, downloaded some orchestral soundkits and started to digitize almost forgotten field recordings. The "Power of Ra“ came to him.

“Illgrimage” is a good example of his approach. Combining atmospheric soundscapes with swirling strings, trombones and pianos. Echoes of birds and children playing in the streets. A small town filled with life and a theremin leading the way while you hear the faint yet powerful words of Greta Thunberg saying: "Imagine...“

“Raqaqa,” a powerful orchestral journey with a hip-hop edge. Tinkling chimes add a groovy vibe, while lush layers of wind instruments weave a masterful soundscape. It’s the slow-burning intensity of this track that pulls you in.

"Nasi Chip" is a signature song that exemplifies Kundan Lal’s musical prowess. An engaging beat coupled with chopped up vocals, 8-bit synth melodies and an arpeggiated piano provide an energetic atmosphere that is both cunning and unique.

”Cen" lures you into the egyptian realm. A Harmonium slithers serpent like around a pounding beat.Horns gently swaying to the rhythm of the desert.

It is hard to put your finger on his style or genre. You can feel Kundan Lal‘s DIY spirit in his production, carving his own ethnic genre. For enthusiasts of Roberto Musci or Muslimgauze, this avant-garde album is one for your collection. Keep your senses open and let the Power of Ra pass you to another world.

This ten-track album showcases Alex Pester's unique and unconventional sound, a blend of folk, baroque pop, psychedelia, and experimentalism, and is set to become a defining moment in his young career.

A PRESSING OF 300 COPIES WORLDWIDE. NON-RETURNABLE.

At just twenty-two years old, Pester has already established himself as a prolific singer-songwriter hailing from Bath, England. He has released three albums to date, each displaying his immense talent as a musician and songwriter.

Influenced by the Incredible String Band, The Beatles, Robert Wyatt, Animal Collective, Harry Nilsson, and The Microphones, among others.

Sometimes I sink into the dark side of life,
Lucky me to have music to pull me back into the light” Kutiman

Following on from his critically acclaimed Open LP released in October, revered polymath Kutiman returns to Siyal Music with his Dense EP. Kutiman continues to push forward with developing his sound as we see the artist creating his first ever electric leaning release. Not the only first, as the haunting vocals layered throughout are a result of Kutiman debuting his very own voice. Kutiman pulls elements from various musical inspirations, be it moody electronica, garage and 2step, modern classical music, ambient or twisted r'n'b. The outcome is a unique, cutting edge blend of emotional pitched down vocals, melodic airy pianos and glitching sound effects.

“This EP expresses emotions from a dark period that I went through. At the time I was into dark electronics and also found inspiration from Rhythm and Sound, Burial, The Blaze, Plasticman and more. The EP all started from a little "Volca" drum machine, which I hooked up and set up a mostly analogue setup around it with some synths and drum machines that enabled me to "jam" a lot of the music without the need to stop for overdubbing or editing”. Kutiman

With an illustrious career spanning over a decade, Ophir Kutiel aka Kutiman moved to Tel Aviv as a teenager to study jazz at the prestigious Rimon music college. It was during this time that he was able to immerse himself in music, with influences cited as Massive Attack, DJ Shadow, Amon Tobin and Parliament. Fast forward to 2007 and his self-titled debut album received a 8.2 rating from Pitchfork and set the precedent for what was to come. Other tastemakers to highlight over the years include; The Guardian, Billboard, The New Yorker, The Wire, Uncut and XLR8R among others. Kutiman is forever pushing boundaries with his music, and draws on a range of world influences from spiritual jazz to psychedelic funk. ‘Dense EP’ sees Kutiman adding yet another string to his musical bow, as we enter the era of electronic inspired music.

With this release TAL delves deep into the very beginnings of Düsseldorf's post punk scene of the early 1980s. STUMM was the duo of Detlef Funder and Bernd Sevens who both would become pivotal figures in the tape underground movement of West-Germany, when they launched the SDV label in 1986. Individually they went on to produce boundary defying works as Konrad Kraft and Seventh Day respectively.

The material on this album was recorded by Funder and Sevens quite casually in 1980 in a rehearsal studio in the centre of Düsseldorf. Right from the beginning the two young musicians incorporated the atmosphere of the space in order to document the process of their sound experiments on a 4-track tape machine. For those recording sessions, which are now released for the first time ever on vinyl and download, Funder and Sevens managed to get their hands on a very rudimentary set of equipment consisting of merely a Korg MS 20 synth, a Roland CR 78 drum machine, a few electronic effects and a drum kit. The urgent and rough sound of the recordings imbues their production with a characteristic and era-specific edge that's hard to imitate today. Spontaneity and understatement were key elements in the brief creative period of STUMM. The recordings still have a uniquely dizzying quality and are somewhat of a basic blueprint for a lot of industrial/techno and post punk which was about to loom in all corners of the world. These tracks are also a testament to the vivid spark of a period in time that would soon be radically changed through the rise of digital technology.

Bernd Sevens: “Around 1980 there was a great musical awakening. Punk, New Wave, Industrial and of course Dub Reggae -- the electronic music blew us away. Everything we heard influenced us. Back then, cassette tapes were cheap and easily available. We could record our ideas on the spot and then copy and distribute the tapes. That's how it started. Giving it a go, experimenting, trial and error. The music you hear on the record was spontaneous and had no concept. Our collaboration was also not intended to be a permanent project. You could say we were dilettantes setting out on our journey, making it up as we went along. It felt like a beginning.”

Dutch progressive Death Metal legends Phlebotomized at the peak of their 30 year old career!

Phlebotomized is among the oldest Death Metal bands from Holland and one of the first using violin and synthesizers in extreme metal. Their typical “Death Metal with a twist” caused a stir in the booming Dutch metal scene back in the early 90’s. Formed in 1989, Phlebotomized started out as a Grindcore/Death Metal band,
inspired by acts like Morbid Angel, Nocturnus and Paradise Lost. Later on, the band began to use keyboard and violin arrangements, resulting in their unique sound. Their “Devoted to God” demo (1992) was recognized as a classic one demo worldwide. In 1994 Phlebotomized released their seminal “Immense Intense Suspense” album which offered an intelligent blend of atmosphere and brutality. It took the Death Metal scene by storm, giving both the band and the album a legendary Cult status worldwide.

The band played numerous shows but disbanded shortly after the release of their second full-length album “Skycontact” in 1997.

After a hibernation of 16 years, Phlebotomized regrouped in 2013 upon the re-release of their classic albums. The band played several live-shows and

FÜR FANS VON: HEAT, Eclipse, Nestor, Hardline, Brother Firetribe
Mit ihrem neuen Album „Code Red“ schlägt die deutsche Hard Rock Band DEVICIOUS aus Karlsruhe ein neues Kapitel auf. 2017 gegründet, veröffentlichen sie nun ihr 5. Album in fünf Jahren. Nach einigen Klangexperimenten auf dem Vorgängeralbum „Black Heart“ kehren sie nun zurück zu ihren Wurzeln, zu dem, was sie am besten können. Große Arena-Melodien kombiniert mit bombastischen Chorarrangements und einer großen Produktion.
Das Album wurde von Bandleader und Songwriter Alex Frey selbst produziert und in den Mastersound Entertainment Studios in
Steinheim, Deutschland von Alexander Krull gemischt und gemastert. Er ist der Hauptakteur hinter den Bands ATROCITY und LEAVE’S EYES sondern steht auch auf der Producer- und Mastering-Liste von Bands wie ATROCITY, LEAVE’S EYES, DORO, CREMATORY, VELVET VIPER oder ZAR. Das neue Kapitel von DEVICIOUS beinhaltet auch einen neuen Sänger. Antonio Calanna verließ die Band nach dem letzten Album auf freundschaftlicher Basis, um sich auf andere Projekte zu konzentrieren. Sein Nachfolger ist niemand geringerer als der ehemalige TNT-Sänger Baol Bardot Bulsara, der bereits
auf dem „Black Heart“-Album einige Backing-Vocals gesungen hat und bei einigen Black Heart-Headliner-Shows an Bord war. Mit Baol ist die Band flexibler, da er eine breitere Bandbreite hat und alles von melodischen Balladen bis hin zu Power Metal-Melodien singen kann.

Mit „Code Red“ liefern DEVICIOUS ihr bisher kraftvollstes und ausgereiftestes Werk ab. Ein melodisches Meisterwerk mit allen DEVICIOUS-Markenzeichen.

Romano, bassist Jean-François Jenny-Clark and pianist Joachim Kühn.
They hadn’t rehearsed anything, as if entering the studio to record an
album without any plan was something normal. The musicians were
obviously very used to playing with each other, as the five tracks on
Our Meanings And Our Feelings seem to flow perfectly without any
hint of improvisation. The zokra, an oriental clarinet that Michel Portal
plays on “Walking through the land” and “Dear old Morocco” brings a
singular touch to this album. This singularity is transcended by
Joachim Kühn’s ability to easily go from the piano to the saxophone
alto, from supporting to soloing, before playing the bells, then the
tambourine, opening the soundscape. Our Meanings And Our
Feelings may not be the first French free jazz record – as it was
preceded by the fantastic Free Jazz by François Tusques, released in
1965 and on which Michel Portal plays as well - but it remains one of
the most important. Its incredible outburst of sounds and melodies is
completely free yet never turns into cacophony. 44 years after its
release, it is still urgent to listen to Our Meanings And Our Feelings
and what these five talented musicians had to tell us.

On June 27th, 1969, Michel Portal pushed the door of the Pathé
Marconi studios. With him were drummers Jacques Thollot and Aldo

An explorative sonic landscape with the beautifully eclectic sounds of drum and bass at its core, Sustance’s debut album is every bit as thought-out, polished, and innovative as we’ve come to expect from one of drum and bass’ brightest prospects.

Having grown up listening to seminal Shogun albums like Spectrasoul's 'Delay No More' and Icicle's 'Under The Ice', ‘Perceived Connections’ acts as a full circle moment for the producer, who now finds himself following in the footsteps of the artists who profoundly influenced his approach to creating music.

Written between London and Berlin across a twelve-month period, 'Perceived Connections' encapsulates both of the alluring sides of Sustance's sound. In the same fashion that the album's writing process pivoted between two capital cities, Sustance's debut album presents both deep and expressive tracks such as 'I Want You' and 'Sweet Relief', as well as showcasing heavy, sound system-destroying tunes like 'Undercurrent' and 'Ten Ton’.

“The album title comes from the Zen idea that everyone perceives the world through their own perspective. Two people can listen to a record side by side and have totally different experiences. I really liked that idea as music is inherently so subjective. Sustance

Accompanying Sustance on this LP voyage is a plethora of D&B’s hottest talent, with Pola & Bryson, Visages, Flowdan, Strategy, Duskee, T-Man, Catching Cairo & Zara Kershaw all sprinkling their own flavours across the album.

Traversing an array of sounds, styles, and genres throughout, 'Perceived Connections' is nothing short of an exceptional extended body of work from a producer whose razor-tight approach to music has seen him emerge with one of the crispest and most captivating sonic palettes in drum and bass music.

Fuzzybrains' Debütalbum The Less I Know ist ein Indie Pop-Album, dem man die Spontaneität seiner Entstehung im besten Sinne anhört
The Less I Know ist der Titel von Fuzzybrains Debütalbum und auch beim Sound ist darauf weniger oft mehr. Dass das Album in den Wohnzimmern des Duos Amalia Hauser und Benjamin Steiger aufgenommen wurde ist aufgrund des eindringlich-klaren Klangs schon alleine technisch beeindruckend.

Noch mehr Spuren aber hinterlässt die dadurch entstandene intime Atmosphäre, die manchmal das Gefühl vermittelt, als würde man heimlich lauschen und den beiden unbemerkt über die Schulter schauen. Trotz der schwierigen Themen strahlen diese Songs Zuversicht aus, sie geben sich den Problemen, den Ängsten und Schwierigkeiten nicht hin, sondern möchten Wege zeigen, damit umzugehen.

mule musiq dives into the archives of humanoid ambient music history, bringing the vinyl premiere of a masterwork by german dj, producer, and musician david moufang, globally known as move d. released in 1995 on pete namlook’s fabled fax +49-69/450464 label, the album marks his only output as solitaire, featuring heroic, supple ambient music, that some folks call one of the best works by move d.

just three years before he dropped it, moufang launched with jonas grossmann the celebrated label source records, active from 1992 to 2005. it was the platform for his first move d album “kun-ststoff”, likewise released in 1995, highlighting diverse genres like techno, house, idm, ambient, electro, and downtempo.

“solitaire” works with pulsating rhythms, too. gentle ones, that cater sensations beyond the propel-ling dance sectors. a spiritual album. recorded at the resource studios/heidelberg in july/august 1994. it reaches out to higher ground, never leaving the sediment.

still state of the art. not a single melody, note, tone has aged. all sparkle, all innocence is still there, somewhere deep in the arpeggiated space, absorbing time. an exploratory early electronic work by an artist, who still had his most prolific years to come.

and yet, “solitaire” sounds like being shaped by a fully mature creative mind, that defined his sonic language already profoundly. six epic tunes between five and 16 minutes, listening to emblematic titles like “damaskus/dakar, “sergio leone’s wet dream”, or “indian mantra”, while opening ambient into investigative textural layer landscapes, that subtly incorporate acid, downbeat, idm, or early techno districts.

for those who have been around in the electronic music sphere for a while, “solitaire” is a classic. for those who are young at heart, it opens new horizons. each new passive or active listing loop fresh ones. hidden in the harmonies. hidden in the melodies. somewhere inside the sound. leading outside into a visual texture, where you can almost see the music!

Black Vinyl

"Burning Bridges" ist das dritte Studioalbum und das letzte Album mit dem ursprünglichen Sänger Johan Liiva. Das Album klingt unglaublich lebendig, strotzt nur so vor Energie und ist in vielerlei Hinsicht noch ausgefeilter als die beiden Vorgängeralben. Die acht Songs, ausgestattet mit einer unglaublich fetten Produktion, bestechen einmal mehr durch erstklassiges Songwriting, die fast schon Power Metal-artigen Gitarrenduelle zwischen Michael und seinem Bruder Christopher Amott sowie den stark verbesserten, brutalen Gesang von Johan Lilva.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Green Vinyl

"Burning Bridges" ist das dritte Studioalbum und das letzte Album mit dem ursprünglichen Sänger Johan Liiva. Das Album klingt unglaublich lebendig, strotzt nur so vor Energie und ist in vielerlei Hinsicht noch ausgefeilter als die beiden Vorgängeralben. Die acht Songs, ausgestattet mit einer unglaublich fetten Produktion, bestechen einmal mehr durch erstklassiges Songwriting, die fast schon Power Metal-artigen Gitarrenduelle zwischen Michael und seinem Bruder Christopher Amott sowie den stark verbesserten, brutalen Gesang von Johan Lilva.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Black Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Red Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Black Vinyl
In jedem ernsthaften Gespräch über Death Metal muss der Name Vomitory auftauchen. Nach ihrer Gründung im Jahr 1989 veröffentlichten sie zwischen 1996 und 2011 acht der besten Alben, die das Genre je hervorgebracht hat. 2013 trennte sich das Quartett. Der Ruhestand der Band war jedoch nur von kurzer Dauer: 2019 kehrten sie auf die Bühnen zurück, um ihr 30-jähriges Bestehen zu feiern, und jetzt veröffentlichen sie ihr erstes neues Album seit zwölf Jahren, das monströse "All Heads Are Gonna Roll". Es bietet den klassischen Vomitory-Sound mit einigen neuen Wendungen und ist alles, was sich die treuen Fans erhofft haben, denn die Band hat sich Zeit gelassen, bevor sie sich dem Album widmete, anstatt es zu überstürzen. "Wir haben uns nicht unter Druck gesetzt gefühlt, es ging vielmehr darum, eine Entscheidung zu treffen, ob wir als Band weitermachen, d.h. neues Material veröffentlichen, oder die Band einfach wieder zu Grabe tragen", erklärt Schlagzeuger Tobias Gustafsson. "Wir haben erst mal nur zum Spaß ein paar Songs geschrieben, um zu sehen, ob wir es noch 'drauf haben', bevor wir die endgültige Entscheidung getroffen haben, weiterzumachen und ein neues Album zu machen."

Red Vinyl
In jedem ernsthaften Gespräch über Death Metal muss der Name Vomitory auftauchen. Nach ihrer Gründung im Jahr 1989 veröffentlichten sie zwischen 1996 und 2011 acht der besten Alben, die das Genre je hervorgebracht hat. 2013 trennte sich das Quartett. Der Ruhestand der Band war jedoch nur von kurzer Dauer: 2019 kehrten sie auf die Bühnen zurück, um ihr 30-jähriges Bestehen zu feiern, und jetzt veröffentlichen sie ihr erstes neues Album seit zwölf Jahren, das monströse "All Heads Are Gonna Roll". Es bietet den klassischen Vomitory-Sound mit einigen neuen Wendungen und ist alles, was sich die treuen Fans erhofft haben, denn die Band hat sich Zeit gelassen, bevor sie sich dem Album widmete, anstatt es zu überstürzen. "Wir haben uns nicht unter Druck gesetzt gefühlt, es ging vielmehr darum, eine Entscheidung zu treffen, ob wir als Band weitermachen, d.h. neues Material veröffentlichen, oder die Band einfach wieder zu Grabe tragen", erklärt Schlagzeuger Tobias Gustafsson. "Wir haben erst mal nur zum Spaß ein paar Songs geschrieben, um zu sehen, ob wir es noch 'drauf haben', bevor wir die endgültige Entscheidung getroffen haben, weiterzumachen und ein neues Album zu machen."

Brussels-based producer Sagat’s highly anticipated debut album ‘Silver Lining’ lands on Vlek Records. Sagat takes us on a deep dive into a dense sonic universe: It’s bass music viewed from multiple vantage points, an explorative zoom onto contemporary dance music’s broad ranging cadences, paradoxically viewed from a distance. Silver lining bathes in cluttering rhythms that hover over corroded thumping grooves. Poly chrome synths emerge dramatically, interlocking with oddly timed techno syncopations. Yet all tracks are held together by firm, dubbed out beat repetitions and slabs of sub bass, not without a melodic sense of drama. Sagat’s disintegrated sound-design stands in between musical dichotomies, at once spaced-out, disorienting and emotive, but also explorative, colourful and full of tension. Moving, yet statuesquely standing idle. Silver Lining is an album longing for the dancefloor, but also about disconnection from it: A highly personal presentation of this producers’ singular take on bass oriented club music. From our standing point we love to see how Sagat’s music keeps evolving, toying with contemporary club music’s specific tropes, unbound by its normativeness. Silver lining is an album rich in contrast that works for personal listening experience as well as for the adventurous DJ with one foot firmly on the dancefloor, the other somewhere way out there.

High Roller Records, reissue 2023, black vinyl, ltd 250, 2 inserts, poster, black vinyl bonus 7" "A Hard Way to Go" in p/s, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, transparent red vinyl, ltd 250, 2 inserts, poster, transparent red vinyl bonus 7" "A Hard Way to Go" in p/s, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

»Picture a Frame,« the debut album by the Belgian composer Elisabeth Klinck, was born out of strict isolation and is nonetheless a result of a collaborative process that saw her working closely with artist Oscar Claus. Enriching her compositions for violin with electronic soundscapes and field recordings from their surroundings, the two entered an artistic dialogue that took place inside its own idiosyncratic space outside of conventional time. It is an intimate record in which Klinck’s expressive playing that incorporates unconventional techniques forms the basis of something much bigger: an invitation to inhabit a specific space at a specific time together with the two of them.

For an entire week in the spring of 2021, Klinck and Claus stayed at an abandoned monastery surrounded by beautiful gardens, but with no power or running water. The intention was to record some of Klinck’s musical ideas on violin, experiment with electronics and acoustic spaces and to get to know each other on a musical level. This proved to be an inspiring and deeply moving process—and the starting point for more. In the winter of that year, the duo set out to the Spanish Pyrenees to build a DIY studio in a small village on a mountain top and record the eight pieces that form »Picture a Frame.« The idea of losing track of time and space is a theme that found its way in these recordings. The two spent their days and nights reading, walking, talking, cooking and taking care of the animals living there but also experimenting with sound, improvising together and making field recordings.

This deep focus on being present in the moment, listening to the world around them and each other resulted in a holistic experience that was translated into music and sound. Klinck and Claus understand this album as a collage, an attempt to evoke the implicit, an essay that suggests a time and space, and a gentle collision between two people that deeply resonate with one another. It’s impossible to argue with that, and even harder not to be drawn into it.

Glam Rock is the style of rock music, mainly developed in the UK, and was performed by artists and groups wearing outrageous costumes, makeup, glitter and hairstyles. Glam Rock Collected contains the biggest Glam Rockers from groups such as Sweet, T.Rex, Roxy Music, Mott The Hoople, Kiss, Mud, Slade, Wizzard and artists as diverse as Elton John, Suzi Quatro, Lou Reed, Alvin Stardust, Alice Cooper and many more.

High Roller Records, reissue 2023, black vinyl, ltd 200, 2 inserts, poster, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, magenta vinyl, ltd 200, 2 inserts, poster, mastered for Vinyl by Patrick W. Engel at Temple of Disharmony

Not a stranger to the dark and gloomy acid sound, Disk Space delivers a techno trance fusion with their latest Control/Revolution EP. For us, this one marks the first release on our The Factory Limited series. Ultimate rare pressing in only 200 copies!

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The second installment "Reissued 2", which follows the series' inaugural EP from 2019, features again some exceptional pieces that were previously only available on CD.


Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music.


"Silk Route Part 1", which comes from their 2008 album "Travelling The Silk Route", occupies the A-side with a 12-minute journey full of jazz-infused ambient soundscapes meeting oriental melodies with sophisticated percussion patterns. A truly immersive listening experience!

On the flip, "Sleeplearnin'" was described as psycho-active electronica when it first came out on the "Sons of Kraut" album 17 years ago. Translated, we're talking about minimal house that carries their warm trademark sound, enriched by pulsating echoes, space noises, and relapsing vocoder shreds. It conveys the pair's unique energy that embraces the improvisational moment to create a hypnotic flow that's nothing but timeless.


"Reissued 2" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.

Mit "Where The Light Goes" erscheint am 26. Mai 2023 das erste neue Album seit über einem Jahrzehnt.

Die mehrfach mit Platin ausgezeichneten US-Pop-Rocker Matchbox Twenty meldeten sich zuletzt mit ihrer neuen Single "Wild Dogs (Running In A Slow Dream)" zurück und veröffentlichen damit ihre erste neue Musik seit über einem Jahrzehnt.
Der Song erscheint zeitgleich mit der Ankündigung des kommenden fünften Studioalbums "Where The Light Goes" , das am 26. Mai 2023 über Atlantic Records erscheinen wird.

Produziert von Gregg Wattenberg mit Paul Doucette und Kyle Cook, bietet die kommende Platte authentische, relevante und glaubwürdige Songs voller Energie.

2023 klingt die Band auf ihrem kommenden Album "Where The Light Goes" erfrischt wie eh und je und profitiert dabei auch von den jeweiligen Solo-Reisen der Musiker. Rob Thomas hat sich als einer der
angesehensten Künstler der letzten Jahre erwiesen. Er veröffentlichte fünf Soloalben und erhielt drei GRAMMY Awards, 11 BMI Awards, den allerersten Songwriters Hall of Fame Hal David Starlight Award, zwei Billboard "Songwriter of the Year"-Auszeichnungen und eine Top-5-Platzierung in den Billboard Top 20 Hot 100 Songwriters (2000-2011).

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

"Das neue Album der amerikanischen Thrash Metal Legenden!"

Die amerikanischen Metal-Veteranen Metal Church werden ihr 13. Studioalbum Congregation of Annihilation am 26. Mai 2023 über Reaper Entertainment veröffentlichen.

Das Album wurde von Gründungsgitarrist Kurdt Vanderhoof produziert und markiert die erste Veröffentlichung seit dem tragischen Tod des legendären Frontmanns Mike Howe, der im Juli 2021 verstarb.

Es ist auch das erste Album mit dem neuen Sänger Marc Lopes
(Ross the Boss / Let Us Prey), der im Sommer 2022 an Bord kam.

Congregation of Annihilation ist eine Rückkehr zu den musikalischen Wurzeln der Band, die an die Stimmung des selbstbetitelten ersten Albums und von The Dark anknüpfen.

Ziegen zu Tode starren! Die psychedelischen Agenten, die von ARSGOATIA aufgespürt wurden, mögen unterschwellig geglaubt haben, sie starrten den Teufel an. Aber der Teufel lebt im Spiegel und versteckt sich immer noch unter den Menschen. Eingeschworen auf den fauligen Samen und die lebensfeindliche Schöpfung, atmen ARSGOATIA 2021 in Salzburg/Österreich ihre Zungen aus, aus dem Gefolge der Funkenfluggesellschaft und den Bewohnern der mystischen Neudegg Alm. ARSGOATIA zelebriert das goldene und heilige Metall des Todes, das sich mit Blutrausch, Antiklerikalismus, Perversion, rasender Gewalt und Grausamkeit schnell nähert!

Dies ist die Kunst der Schöpfung der Ziege. Es ist die Darstellung der Obszönität und ARSGOATIA ermöglicht den Zugang zu ihrer musikalischen Phantasie jenseits dieser Welt. Der erste Ausbruch des kommenden Fluches "Hiding Amongst Humans" trägt den Titel "In The Veins Of The Saints" und bietet eine atemberaubende Färbung voller Heuchelei und Verwünschungen. Eine Täuschung, um andere Menschen auf einen anderen Standard zu bringen, als den, auf den sie sich selbst bringen. Es geht nicht darum, dass man seine Regeln nicht einhält, sondern darum, dass man für andere andere Regeln hat als für sich selbst.

Sól án varma, übersetzt "Sonne ohne Glanz", ist ein 70 Minuten langes Stück, das von einigen wenigen berüchtigten Namen aus dem isländischen Black-Metal-Underground geschrieben und aufgeführt wird. Gegründet von T.Í. und D.G. (Mitglieder von Misþyrming, Naðra, Núll, Drottinn usw.), prominenten Mitgliedern der isländischen Vánagandr-Elite, ist Sól án varma eher eine konzeptionelle Idee als eine Band oder ein Nebenprojekt. Ursprünglich wurde Sól án varma als eine spezielle, einmalige Show für das Roadburn Festival 2018 in Auftrag gegeben. Das 70-minütige Stück ist weder vor noch nach dieser besonderen Aufführung zu hören gewesen.

Nachdem Misþyrming bereits zwei Jahre zuvor als "Artist in Residence" auf dem Festival zu Gast war, wollte Walter Hoeijmakers, der Direktor des Roadburn Festivals, dass die isländischen Musiker ein neues und fesselndes Phänomen für die 2018er Ausgabe des Festivals auf die Bühne bringen. Nach einem Treffen mit Walter in Island im Jahr 2017 stellten D.G. und T.Í. eine Gruppe sorgfältig ausgewählter Musiker zusammen, um das zu bilden, was später das Sól án varma-Konzept werden sollte. Diese Mitglieder sind: G.E. (Misþyrming, Naðra, Svartidauði), Á.B.Z. (Carpe Noctem, Árstíðir Lífsins), M.S. (Svartidauði, Drottinn), S.V. (Svartidauði, Drottinn) und H.V. (Wormlust).

Nach einer langen und intensiven Schreib- und Probenphase hat die Gruppe das Stück auf dem Roadburn Festival 2018 vor dreitausend Fans in der 013-Venue in Tilburg uraufgeführt. Ein Jahr nach der Aufführung beschloss die Gruppe, das Stück unsterblich zu machen, indem sie es in ein gut vorzeigbares Aufnahmeformat brachte. Die Gruppe ging ins Studio und nahm den Großteil der Instrumentalstücke innerhalb von fünf Wochen auf.

Bristol multi-instrumentalist, producer and nature freak Will Yates offers a new record from his Memotone alias, an expansive, hypothetical revue titled How Was Your Life?

Launching from terrains recognizable to fans of Will’s extensive, restless discography, How Was Your Life? packs up his penchant for baroque druid folk, homespun electronics and weightless woodwinds and explodes them into glistening, fractal star dust.

Instigated by the purchase of an antiquated Y2K era guitar synthesizer, the record was produced over the first half of 2022, in a large part a result of in-studio improvisation and carved by equipment that offered both possibilities and parameters that Will relished and explored to the nth degree. The Roland GR33 not only provided sublime guitar sounds but also empowered the guitar to convincingly mimic fretless bass, tabla and a vast percussive array, also summoning an artillery of uniquely outre atmospheres over the course of the record. The resulting concoction sounds familiar yet subtly, unshakeably otherworldly, shaping up as perhaps the most honed, energized and beatific Memotone album to date.

Paradise Drips gently lifts off with wobbly guitar, randomized sequences and unidentifiable percussive elements situating us somewhere in an unearthly realm, before Open World zaps the serotonin receptors and gushes with ecstatic warmth, it’s quietly insistent soft disco shuffle and levitational fretless driving towards a totally blissed and very soft “drop”. Forest Zone sees Memotone deep in the green, with a loose, propulsive groove and dancing flutes stumbling into a medieval ritual in the clearing halfway through, and Glow In The Dark deftly bounces between spacey ambience and an undulating no wave vamp. Carved By The Moon is a delightfully melted classical cut, while Canteen Sandwich offers the record’s most explicitly nod to modernity in the form of a nimble drum workout with samurai synths and melodic percussion that heaves towards a genuine peak. Lonehead immediately backs right off, viscerally melancholic clarinet and bubbling fx making for the records most hefty introspective moment, before Walking Backwards simmers all the way down on an wistful arpeggio, rooting back in earthly reality with charmed rhythms and jazzy tunings. Catharsis complete, Memotone is onto the next incarnation.

Will Yates has been making music as Memotone since 2010, releasing music on labels like Black Acre, Disktopia and Accidental Meetings, also releasing music as O.G. Jigg and Half Nelson. He’s worked as a producer, session musician and live performer on a broad spectrum of projects, and recently provided source sounds that made up Batu’s “Opal” on Timedance.

How Was Your Life? was written, produced and mixed by Will Yates. It was mastered by Chris Wang. Art and design by Hugo Bernier.

A co-op coalition of Laced Records, Fatshark, and Games Workshop has summoned forth a deluxe triple vinyl for Jesper Kyd’s incredible new Warhammer 40,000: Darktide score.

48 tracks have been specially mastered for vinyl and will be pressed onto heavyweight galaxy-effect discs in yellow & black, blue & black, and red & black. The widespined outer sleeve features a spot gloss logo on the front cover; while the three spined inner sleeves sport artwork by the Fatshark team.

Darktide succeeds Fatshark’s much beloved Vermintide series with brutal co-op action set in the dystopian future of Warhammer 40,000. Composer Jesper Kyd’s many challenges included capturing the pomp and propaganda of the Imperium’s Inquisition; finding a way to represent ‘living machines’ the size of city blocks and thousands of years old in the lore of the game, but still tens of thousands of years more advanced than our own; and finding the sound of the dangerous lower levels of the Underhive.

He spectacularly achieves this with characterful choral and folk instrumental performances layered among all manner of vintage analog synths, giving the whole soundtrack a rusty, mechanical but not robotic feel — all dusty data and grinding grooves. It’s a unique score that sheds the orchestral and electric guitar palettes of other Warhammer titles.

Like a winding system of trails and paths cutting through a digital forest-scape, M. Sage's Paradise Crick is shaped by time. Full of wonder and charm, designed patiently and from a rich, curious mulch of synthesized and acoustic sound, the versatile American artist and magic realist's new suite of music is an imaginary destination and a pastoral fantasy that envisions the natural and fabricated worlds as one. Matthew Sage is a musician, intermedia artist, recording engineer and producer, publisher, teacher, partner, and parent. Assembling a sprawling and idiosyncratic catalog of experimental studio music between Colorado and Chicago since the early 2010s, recent highlights include The Wind of Things (Geographic North, 2021), an ensemble-recorded expression of bow-splashed nostalgia, and the four seasonal albums of Fuubutsushi, the improvisatory ambient jazz quartet he formed with friends from afar in 2020. Sage renders projects with nuanced velocity and a completist sensibility _ when it's finished, it's done _ which is what makes Paradise Crick, his debut for RVNG Intl., a compelling outlier. Sage first staked his tent in Crick's conceptual campground five years ago from his home studio in Chicago (he's since returned to Colorado, home to the mountains and prairies often personified in his work). He had just read Richard Brautigan's Trout Fishing in America, a kaleidoscopic reflection of pastoral America's shifting identity by way of magical fishing sojourns. Inspired by that feeling, of getting lost but finding oneself in through the outdoors, he amassed over seventy demos documenting a fictional soundtrack for camping. Pull up to this park, and the sign might read, "Welcome to Paradise Crick. Fire Danger Is Low." The sequence, pruned down to thirteen tracks, courses the dewy mornings, afternoon hikes, and firelit nights of a weekend expedition. While Sage is not a filmmaker, he views the method of making this album as a similar form of world-building via structure, narrative, formal elements, and editorial refinement. Contrasted with his collaborative craft, here he is a sole auteur reclined in total autonomy, able to improvise scenes and implement special effects at will. A parallel precedent for such unchecked imagination in the M. Sage canon is A Singular Continent, his 2014 album that tilted its compass to a faraway land. Where Continent built its world layering samples as composition, Paradise Crick deploys a balance of accessible song structures with experimental instrumentation and sound design. Speckled with harmonica, autoharp, chimes, penny whistle, voice, hand percussion, and other mysteries, Crick's texture is treated as a sensorial adventure; the swamps gurgle, the lakes glisten, and the valleys breathe in robust HD. The rhythms are loose and buoyant, bursting with a few `kick and snare' moments shaped by Sage's lifelong love for drumming and headphone prone electronic music. Crick bumps more than most anything he's done before; crackling static pulses and lush vibrations reveal an intrinsic groove, a hidden beat map. In the landscapes of Paradise Crick, science and magic co-exist, 5k boulders and midi frogs share the frame with real-life memories of Midwest camping trips and the desire to feel extra human in a digitized space. Sage strived for "nature in the holodeck" but couldn't help leaving fingerprints in the simulation, and it's these traces of spirit and character that give Paradise Crick its strange allure. The album's bubbling sense of play, melody, and timbre takes cues from left-field electronic lineage; synth pioneers like Tomita and Raymond Scott up through the more expressive pop tendencies of Woo, Stereolab and the Cocteau Twins, and into contemporary composers like Sam Prekop. The album's vocabulary is uncomplicated; the gestures are sweet and inviting, intended to lull the listener. As much as Sage continues to be an experimentalist by nature in his work, with Paradise Crick, he spins a narrative. Not necessarily a concept album, but rather an invitation to take off for a weekend. That's the modus operandi down here in the Crick, we stretch out. M. Sage's Paradise Crick will be released May 26, 2023 in LP, CD, and digital editions. A portion of the proceeds from this release will benefit Earthjustice, the premier nonprofit public interest environmental law organization.

His best work to date is presented to us as Ivan’s voice is centre stage, with layered harmonies added to the soundscape of delay-soaked electric guitars, and essentials-only drums and bass.

Drawing from new life experiences, musical influences from the likes of J.J. Cale, Nina Simone and Tim Buckley, along with the freedom to create at his leisure; Ivan’s original and unique sound remains recognisably present, creating a fusion of 1960s/70s folk and blues. If you’re a fan of John Martyn’s drowsy melancholia you’ll love this album.

Re-release des im Jahre 2000 veröffentlichten Albums "Endstation" der Deutschpunk-Legende Hass. Lieder wie "So wie die werd ich nie", das bitterböse "Mein Nachbar", "Versoffene Marie" oder "Totengräber" zeigen die Band nach der Jahrtausendwende in Höchstform und vermischen den typisch-rauhen Hardcore-Punk-Style von Hass zum Teil mit rockigeren Klängen. "Endstation" ist die letzte Scheibe noch mit Bandgründer Peter "Hecktor" Blümer am Mikrofon, der sich danach auf die reine Gitarrenarbeit konzentrierte. Nicht nur für "Hass"- und Deutschpunk-Fans ein "Must-Have" in der Vinyl-Kollektion. Limitierte Collector´s-Vinyl-Edition, 180gr. Edition mit neuem Cover-Artwork & 350gr. Heavy cartonage inside/out rough paper, erstmalig komplett neu gemastert und abgemischt in dem Sound, den das Album verdient hat.

Re-release des im Jahre 2000 veröffentlichten Albums "Endstation" der Deutschpunk-Legende Hass. Lieder wie "So wie die werd ich nie", das bitterböse "Mein Nachbar", "Versoffene Marie" oder "Totengräber" zeigen die Band nach der Jahrtausendwende in Höchstform und vermischen den typisch-rauhen Hardcore-Punk-Style von Hass zum Teil mit rockigeren Klängen. "Endstation" ist die letzte Scheibe noch mit Bandgründer Peter "Hecktor" Blümer am Mikrofon, der sich danach auf die reine Gitarrenarbeit konzentrierte. Nicht nur für "Hass"- und Deutschpunk-Fans ein "Must-Have" in der Vinyl-Kollektion. Limitierte Collector´s-Vinyl-Edition, 180gr. Edition mit neuem Cover-Artwork & 350gr. Heavy cartonage inside/out rough paper, erstmalig komplett neu gemastert und abgemischt in dem Sound, den das Album verdient hat.

25 Jahre Garish - dazu haben zahlreiche Prominente und Gäste Songs (mit) der prägenden österreichischen Indie-Band neu aufgenommen.

Für das Compilation-Album 'Hände hoch ich kann dich leiden' haben Prominente und Weggefährten wie Thees Uhlmann, Amadeus-Preisträgerin Ina Regen, Schauspielerin und Filmakademie-Präsidentin Verena Altenberger u.v.a. ihre Versionen von Garish-Songs eingespielt. Die Jubiläums-LP erscheint im Mai, eingebettet in eine Jubiläums-Tournee der Band.

Österreich-Tournee (teilweise bereits ausverkauft). Garish waren mit 7 verschiedenen Alben insgesamt 8x für einen Amadeus Austrian Music Award nominiert, haben aber nie einen gewonnen - und gelten daher als 'Scorseses der österreichischen Musik'; die Band gilt als verlässlicher Top 20-Album-Act in den österreichischen Charts und als strukturelle und ideelle Wegbereiter des "österreichischen Popwunders" der 2010er-Jahre.

The Week That Was, a one off concept album with a fractured, murder mystery subtext from Peter Brewis of Field Music was released by Memphis Industries in 2008. The album will be reissued for the first time to celebrate the 15 year anniversary of the album"s release. It has been remastered by David Brewis for additional audio clarity and comes on clear vinyl.

Memory Lane Lying in Pain is the debut Ep by Evil Saint Francis, the latest incarnation of Francesco Mele, a known figure in the Italian indie/darkwave scene. Penned at the height of lockdown to exorcise his demons, these songs were produced by Jacopo Bigagli. The Memory Lane Ep is a darkwave / synthpop / shoegaze’s threesome with a very dark bystander who resemble rowland s howard. LVCA aka Luca Cazal steps up on remix duties, drawing from his synth pop and new wave influences of his former years as a musician, delivering an acid tinged rendition of the main track.

DJ Exodus is no stranger to Vinyl Fanatiks, with his two 92/93 releases on Skeleton Recordings being repressed recently. This release originally surfaced in 1994 on Tearin Vinyl and shows how Exodus traversed between his early hardcore releases and his straight up jungle darkside tear out.

One for the purveyors of authentic west London jungle who like their beats chopped and finely rinsed.

Comes in a high quality gloss Tearin Vinyl housebag and white inner sleeve. Released on either red, white or blue 180g heavyweight vinyl.

First release of this label featuring Gehlektek, Pozek and SPK

A1 "Gruntler" from Gehlektek with a long 9 minutes track at 45rpm, mega bomb at 150 bpm! Super HQ sound, stompy kick, melodic themes and delicious ear candy. Proper crowd control tool !

B1 "MR.Kubickeh" is a track from the super talented Pozek 33rpm this side with a very easy but super effective Acidcore tune at 150 bpm! Clean mix and driving atmosphere with a very important kick! The track was composed to support the victims of Redon party in 2021, parts of the revenues will go to the crews involved in that party. Massive support to Pozek for this pearl track!

B2 "We Are The Resistance" is a driving nu school Tribecore banger! It starts with a long monologue with a very well done crescendo bringing to a massive sentimental and impressing drop. Synths arrangements drive you dancing crazy with a very persistent, solid distorted kick. 165 bpm. Amazing production from the notoriously skilled SPK.

Lime green (yellowish?) vinyl LP Finnish noise rock duo NYOS deliver a clairvoyant Celebration of the present, written at a time when that present was shimmering just like the feathers of the cover art courtesy of animal photographer Zac Herr. Combining the danceable grooves of Battles with Sonic Youth - infused noise bursts and the yearning electric melodies of And So I Watch You From Afar, Celebration is a defiantly joyful, loud, and festive affair. A promising cure for the drudgery of the times we live in. Recorded by Brooke in his own Tonehaven Recording Studio, Celebration is the latest testament to the undeniable synergy these musicians have built over the past seven years. With the material largely written before the advent of corona, Celebration is a reflection of life before lockdown, filled to the brim with infectious grooves and glaring melodies. "We tried for something upbeat this time to contrast the times," explains Tom Brooke about the recording process, which in turn did take place during pandemic life. "We always love it when people can move to our music, so a big focus for the record was to embrace the dance vibe and go for it." This collection of eight colourful, jarring tracks is rife with small nods to dance music throughout the world. Take a song like "Light" with its complex syncopated drum pattern that recalls the Amen Break so typical for drum and bass music, but listen closely and the song reveals an off-beat skank that flips over into experimental reggae territory. Similarly, a track like "Tucano" recalls the experimental IDM of Bristol-based producer Vessel, while "Gold Vulcan" offsets a gnarly gyrating guitar riff with Latin- American and oriental melodies. The attention to detail on Celebration is phenomenal. The album contains some of the band's most layered compositions to date, but it is also the first NYOS record to feature improvised live recordings, the aptly named "First Take" as well as the celestial "Cloudberry". These musical sketches show two musicians at the apex of their connectedness. Every time that one of them appears to be taking a somewhat questionable turn, you'll find yourself carefully and respectfully readjusting your own interpretation of the song's intention - and what NYOS are all about.

”The Girl Is Crying In Her Latte” ist Sparks’ erste Veröffentlichung seit fast fünf Jahrzehnten, nach Klassikern wie dem 1974 erschienenen Erfolgsalbum ”Kimono My House”, mit der Hit-Single ”This Town Ain’t
Big Enough For Both Of Us”. Das neue Album wird von Ron und Russell Mael als eine Platte beschrieben, die ”so kühn und kompromisslos ist wie alles, was wir damals gemacht haben, oder auch zu jeder anderen Zeit unserer Karriere”.

Das Album enthält fesselnde neue musikalische Elemente wie „Mona Lisa’s Packing, Leaving Late Tonight“ und „Nothing Is As Good As They Say It Is“, Songs, die Sparks’ unermüdliche Fähigkeit unter Beweis stellen, in perfekten dreieinhalbminütigen Pop-Meisterwerken vollständige und detaillierte Geschichten zu erzählen.

„The Girl Is Crying In Her Latte“ ist sowohl charakterlich zeitlos als auch modern und bekräftigt einmal mehr, dass Sparks nach mehr als einem halben Jahrhundert, in dem sie solche Meisterwerke geschaffen haben, originell, genial und wie immer absolut einzigartig blieben.

Das Album ist erhältlich auf Vinyl und als CD.

First repress since its original release in May 1998

Celebrating twenty-five years since its release as rgirl2 – the label’s first LP – Rocket Girl is reissuing its seminal compilation A Tribute to Spacemen 3 on double vinyl with spot varnish sleeve in May 2023.

Widely acclaimed at the time of its release (garnering rave reviews in the UK, US, Canadian and European music weeklies and monthlies), the collection sounds as fresh and inventive as it did three decades ago. Launched at a time when tribute albums were prevalent, A Tribute to Spacemen 3 stands apart from other covers albums in that it not only redecorates S3’s songs in a bold new palette of colours, but also acts as a time capsule documenting a very specific wave of 90s US and UK bands that shared many sensibilities – ‘post-rock’ might be the catch-all genre, but their music also encompassed psych, slowcore, analogue electronica, dream pop and space rock to varying degrees – and many of whom (Mogwai, Low, Arab Strap, Bardo Pond) have gone on to reap major critical and commercial success, and are still thriving today. In 1998 the LP was a gateway for fans of Spacemen 3 to discover these relatively unknown experimental artists operating on small independent labels either side of the Atlantic – today it is a celebration of the timeless innovation and longevity of that scene.

As author Richard Milward states in Rocket Girl 20, the 2019 book illuminating the history of the label: ‘In no way is the LP a collection of imitators simply regurgitating Spacemen 3’s songs sound-for-sound – rather, the compilation celebrates the purity and bravery of Pierce’s and Kember’s song writing (themselves never averse to a transformative cover version) while showcasing the originality and diversity of those bands they have inspired.’ It is the simultaneous simplicity and otherworldliness of S3’s songs that make them perfect fodder for reinterpretation, the band’s ‘three chords good, two chords better, one chord best’ mantra providing a solid, tantalising foundation for these bands to experiment with freely. Throbbing and humming with equal parts euphoria and melancholia, over the course of the album’s 69 minutes the tracks slide from slithering stoner psych (Asteroid #4’s ‘Losing Touch With My Mind’) to hymnal delicacy (Amp’s ‘So Hot (Wash Away All of My Tears)’ and Mogwai’s crisp, glockenspiel-chiming ‘Honey’) to zero-gravity lounge jazz (Transient Waves’ closer, ‘Billy Whizz’). There are radical reworkings: the oozing fuzztone lava of Bardo Pond’s ‘Call the Doctor’, and not least Arab Strap’s startling take on S3 live mainstay ‘Revolution’, replete with aggressive, crunching drum machine and the lyrics delivered down the telephone in Aidan Moffatt’s laconic Falkirk drawl – ‘a change, a solution, a wee… a wee revolution’ – before its explosive climax.

Gold/black splatter coloured x2 LP Vinyl. 10th anniversary edition - London Grammar release a 10th Anniversary Edition of If You Wait exclusively for Record Store Day. The 2LP is pressed on gold with black splatter effect 180 gram vinyl.

x2 Gatefold Black LP Vinyl - Recorded during Pearl Jam’s Melbourne Park show on March 5, 1998 during the Australian tour in support of their 3rd studio album Yield, the highly sought after Give Way will be released on vinyl for the first time. The 17-track album will be a 2LP gatefold on black vinyl including live versions of “Given To Fly,” “Faithfull,” and “Do The Evolution”. The title Give Way is a nod to the Australian counterpart to the United States Yield sign.

From ‘OK Computer’ to ‘Screamadelica’, history has shown that a band’s third album is when shit starts to get real. When, after an introductory debut and a second that tests new waters, the particular alchemy of a group stamps its personality in ways that no other configuration of individuals can do; when the outside voices have been tempered and all that’s left is a perfect cocktail of confidence, skill and momentum. It’s a theory that’s been proven time and time again, and one that Newcastle trio Demob Happy are underlining with ‘Divine Machines’: a third album that harnesses their delicate tightrope of heaviness and melody, sweetness and riffs, and rides it up to the stratosphere.

From ‘OK Computer’ to ‘Screamadelica’, history has shown that a band’s third album is when shit starts to get real. When, after an introductory debut and a second that tests new waters, the particular alchemy of a group stamps its personality in ways that no other configuration of individuals can do; when the outside voices have been tempered and all that’s left is a perfect cocktail of confidence, skill and momentum. It’s a theory that’s been proven time and time again, and one that Newcastle trio Demob Happy are underlining with ‘Divine Machines’: a third album that harnesses their delicate tightrope of heaviness and melody, sweetness and riffs, and rides it up to the stratosphere.