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It is a powerful set that finds his skills as a songwriter and his strength as a singer undiminished...Doctor Moan finds Peter Case in outstanding mature form.

A grade!" - THE VINYL DISTRICT.

"Doctor Moan is filled with personal reflections on a long, storied career, but it's never maudlin or dispirited. In fact, Case's varied musical palette commands the listener to lean in close to view musical dioramas of scenes gone by, from the barroom blues of "Ancient Sunrise" to the Memphis appeal of "The Flying Crow."

Even the lovely two-minute "4D," Case's first recorded instrumental, lends further emotion and shadow to a three-dimensional listen." -- NO DEPRESSION.

"The cinematic and evocative single and album opener, "Have You Ever Been in Trouble" sets the tone for Peter Case's Doctor Moan album." - THE BIG TAKEOVER

Kenny Wollesen and Dalius Naujo, the two rhythm kings in question, are rounded out in the lineup by bari/ alto sax veteran Jonathon Haffner and guitarist Tony Scherr and the sound the four create is strangely hypnotic and immensely accessible, leaving the listener with infectious themes and melodies ricocheting around the brain.

Creating these sounds comes naturally to these gentlemen as one glance at each of their impressive and lengthy big-name resumes will attest (Snarky Puppy, Jack DeJohnette, Tom Waits, John Zorn, Sean Lennon, Bill Frisell, Norah Jones, John Lurie, Laurie Anderson...etc).

But the issue here is not glory-by-association, it's the creation of glorious music in and of itself, and Rocket Sci have an incredible head start on that. Their album "Bond Riviera," to be released by Nublu Records later this year after a sequence of pre- album singles, will be all the proof anyone needs.

Aesthetically, Hometown Vampire provides a guided tour through 50 years of guitar music, calling out to greats like a prayer, asking for the songs we love to act as guidance through the trouble around us. The characters labeled here as vampires refer to any of the lowlifes we see around us or in ourselves; the punisher at the bar, the chronic failure who's always got a new scheme, the kinds of people who live in the past and stew in bitterness. Hometown Vampire is a farewell to all the good and bad of music scene chicanery, late night shit-talking, and all the failed romances before.

For fans of:
The Beatles, Girls, The Lemonheads, Pavement, Real Estate, Death Cab for Cutie, Hovvdy, Mac Demarco, Vampire Weekend, Billy Joel

Mia Gargaret” is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist & producer Gia Margaret. It’s also not the follow-up she intended after the critical success of her 2018 debut, “There’s Always Glimmer”. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily. Gia explains: “After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.” Documenting her self-healing and without singing or lyrics to steal the focus, the instrumental tracks on “Mia Gargaret” shine a light on Gia’s skills as a musician, composer & producer. Spare but immersive arrangements of synthesizer, piano & acoustic guitar simultaneously ache & soothe, building emotional landscapes that rise & recede like scenery through a train window. “Mia Gargaret” is a gorgeous experiment & a memorable meditation on the healing power of music. This version is a limited edition of 200 – pressed on pale blue vinyl with an exclusive lithograph print.

It all started somewhere and every classic has got its demos. These are the ones that lead the way to the Supersuckers incredible twist of plot, from cow-punk to Americana.

Originally released in 2009 on CD. Now remastered for the first and on vinyl.

For the first time on vinyl since its release in 1997, a classic of the classics where the Supersuckers lead the way and go cowpunk releasing an Americana classic. Remastered in 2023. Featuring guest appearances from none other than Willie Nelson and Kelley Deal.

Bouncing back from the setback of Sacrilecious, the Supersuckers recorded their most ambitious album with Must've Been High. Using their garagey, post-hardcore punk as a launching pad, they delve deeply into country, even recording with Willie Nelson on one cut.

Daylight Saving Records will release Blowdry Colossus, the new solo album by Field Music"s Peter Brewis. The record is Peter"s first solo venture since 2008"s The Week That Was and follows collaborative albums with Paul Smith (on 2014"s Frozen By Sight) and Sarah Hayes (on 2019"s You Tell Me). The album was recorded over the last year at the Field Music studio in Sunderland, and features contributions from Peter"s brother David, Sarah Hayes and Peter"s son Alexander.

Leonard Bernstein understood and communicated the music of Gustav Mahler at a level that was positively uncanny, and for many listeners and reviewers his Mahler Cycle on Deutsche Grammophon from the late 1980s remains the best-loved. Bernstein’s reading of the 2nd Symphony from this cycle is now be released on vinyl (2 LP gatefold). The recording was made in New York’s Avery Fisher Hall in April 1987, with the New York Philharmonic, the Westminster Choir, and soloists Barbara Hendricks and Christa Ludwig. “Leonard Bernstein's interpretation of Mahler's ''Resurrection'' Symphony is one of the musical touchstones of our time, a reference point even for those who might not agree with its intensely personal view." (The New York Times 1989).

Kira Linn - baritone saxophone
Nino Wenger - alto saxophone, flute, alto flute
Christopher Kunz - tenor saxophone, soprano saxophone
Lukas Keller - electric bass
Johannes Koch - drums
Lukas Großmann - synthesizer, piano, Rhodes

ALBUM CREDITS

Fattoria Musica, Osnabrück, Germany (November 10th, 11th 2021)
Mixed by Patrik Zosso
Mastered by Patrik Zosso
Produced by Francesca Gaza
Executive Producer - Michael Janisch
Photography - Karl F. Degenhardt (Band Photo), Marina Rosa Weigl (Kira Linn)
Graphic Design by Maria Jarzyna

Kira Linn - baritone saxophone
Nino Wenger - alto saxophone, flute, alto flute
Christopher Kunz - tenor saxophone, soprano saxophone
Lukas Keller - electric bass
Johannes Koch - drums
Lukas Großmann - synthesizer, piano, Rhodes

ALBUM CREDITS

Fattoria Musica, Osnabrück, Germany (November 10th, 11th 2021)
Mixed by Patrik Zosso
Mastered by Patrik Zosso
Produced by Francesca Gaza
Executive Producer - Michael Janisch
Photography - Karl F. Degenhardt (Band Photo), Marina Rosa Weigl (Kira Linn)
Graphic Design by Maria Jarzyna

Curate your music collection with the year most-wanted remixes. Elevate your mind and catalogue with the definite vision of Robert Armani’s timeless bestsellers. This double vinyl boasts new levels of techno.

Discover never-before-seen versions of the Chicago Legend’s Hits of all times. We have a plethora of artists as Mark Broom with a banger, Alexander Johansson & Mattias Fridell, Ken Ishii, amazing Misstress Barbara, Van Czar with a rework of 3 in 1 tracks, Spanish crew featuring Cristian Varela, Paco Osuna, and Jesus Riaño, Belgian classic Dj Bountyhunter, Miss Mana and Waffensupermarkt. These brand-new gems have been carefully selected and the artists involved wanted to pay a deserved tribute to Armani’s career.

UK dance music antagonist Works Of Intent redefines big room techno on ‘Richer Sound’, an album sampler with four new tracks to accompany the digital release of his album of the same title which features with six

all-new tracks alongside six cuts previously released on Laurent Garnier and Scan X's COD3 QR label.



Works Of Intent is a vital voice in the underground who champions the sounds and stories of South Asian creatives in his role as Project Manager and Visual Designer for DAYTIMERS. He has also written multiple essays on race, class and privilege in the industry while laying down expressive sets across four decks at key clubs like fabric, Panoramabar and Rex. His emotive, storytelling sounds have come on labels like Turbo, Rekids and Monkeytown, and outside that, he's a go-to mix engineer for some of the UK's most exciting prospects.



‘Richer Sound’ features six tracks previously released on the label’s Various Artist EPs and six brand new offerings that avoid tired big room tropes. Gone are the snare rolls, white noise risers and kick drops, instead Work's operates under the mantra of "big tunes for big hearts" where musicality makes the motive. The artist himself has taken care of the artwork, mixing and mastering and says of the album, “It’s melancholia turned up so loud you can’t ignore it. It’s a deafening barrage of emotions designed for super clubs. It’s unsubtle, it’s unabashed, it’s unrelenting, and it wears its heart on its sleeve. It’s unmistakably a work of intent.”



Cars and motorsport have been a recurring theme in previous Works Of Intent releases and appear again here in 'Left Unseen', which has the high octane, death-defying adrenaline of rally driving perfectly transposed into a big room techno experience. ''Old Ways, New Mistakes' bounces boisterously with stadium-sized kick drums and synthetic mourning that will break hearts across arenas. 'Dreamt I Saw You' takes fawning imaginations to lucid heights with a synthand cymbal pairing designed to get you stargazing in the club.



‘Richer Sound’ is just the sort of expertly-crafted, genre-busting work of emotional and physical potency you would expect from such a restless nonconformist as Works Of Intent.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Next up on Toolroom’s 4-track vinyl sampler series is 4 killer cuts from our latest repertoire.

Kicking off with another straight up, dance floor weapon, Essel lands back on the label with brand-new single, ‘Sweat’. Her toughest sounding record to date that captures the post-rave moment, cementing herself as one of the hottest new talents to emerge in the electronic music scene.

Next up, Parisian born and US based tech house producer Shiba San debuts on Toolroom with a seriously wonky affair alongside studio buddy, Ayarez, aptly titled ‘Twist It’.

Up next on the sampler, is the return of longstanding label favourite Friend Within with his rolling tech house banger ‘Pilka’. Having landed 2 of the hottest tracks on Toolroom last year with ‘Monkey Bars’ and ‘Bring It Down’ which saw sweeping support flood in from across the scene, including Paul Woolford (Special Request) Salute, LF System, Dom Dolla and many more, friend within is officially back for 2023!

Completing the EP, we welcome sola regulars and one of the freshest, most exciting dance music duos to come out of the UK in recent years, Maur who lock horns with chart topping US based Westend, for a label debut set to become 2023’s festival anthem - ‘Over’.


DJ support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, Dj Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’attis, Mousse T, S-Man, Huxley, Kc Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, Tcts, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

The highs is Mike Stud’s first album to be officially released under his new name and style of music. He now goes by the name “mike.” This is the first album of the upcoming trilogy he has in the works. “the highs, the lows and the inbetweens.” These are all part of the KEEPGOING trilogy under his new name and style.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

Der vielschichtige schottische Künstler und Musiker Barry Can’t Swim veröffentlicht sein Debütalbum, „When Will We Land?“, auf Ninja Tune. Das elf Tracks lange Album, bewegt sich von Deep House bis Jazz, von Ambience bis zur perkussiven Ladung Afrobeat und ist sein bisher umfassendstes und vielfältigstes Projekt. Alles wird durch seinen einzigartigen Sinn für Zielstrebigkeit und die typische Lebhaftigkeit zusammengehalten; mit seiner geschickten Finesse ist es ein Album, das als eine Art musikalische Autobiografie fungiert.

Der in Edinburgh geborene Musiker erregte 2020 mit einer Reihe von Veröffentlichungen Aufmerksamkeit, bevor er beim Ninja-Tune-Label Technicolor für seine sensationelle EP „More Content“ aus dem Jahr 2022 unterschrieb. Billboard ernannte ihn zu einem ihrer „10 Dance Artists To Watch“, während die Single „Blackpool Boulevard“ auf der Playlist von BBC Radio 1 landete – der Radio-Legende Pete Tong war begeistert, während Tastemaker:innen wie The Blessed Madonna und Annie Mac große Fans wurden. „Man kann sein Debütalbum nur einmal machen.“, betont Barry Can’t Swim. „Deshalb möchte ich alle Elemente der Dinge präsentieren, die mir bis jetzt an der Musik Spaß machen.

Transluzentes algengrünes Color-Vinyl (140g) inklusive doppelseitigen 12"-Kunstdruck und Download-Code.

Forest Swords (alias der elektronische Produzent/ Komponist Matthew Barnes) kündigt sein neues Album, „Bolted“, an. Nachdem er in den letzten Jahren als gefragter Komponist und Sounddesigner gearbeitet und Musik für Ballett, Film und Videospiele geschrieben hat, wurde „Bolted“ im letzten Jahr in einer Lagerhalle in Barnes' Heimatstadt Liverpool aufgenommen. Auf den elf Tracks taucht er tiefer in sein einzigartiges Klangvokabular ein, um eine Reihe von Tracks zu weben, die gleichermaßen kraftstrotzend und düster, eindringlich und euphorisch klingen.

Wie immer in seiner Musik, fühlen sich Melancholie und Euphorie, Monochrom und Farbe, Vergangenheit und Zukunft mehrdeutig an. Die Emotionen verschieben sich von Moment zu Moment, die Unterschiede zwischen digitalen und akustischen Instrumenten sind verwischter denn je: eine Verquickung von Zeit, Raum und Klang, die sich gleichermaßen spielerisch und absolut vital anfühlt.

Zusammen mit der Ankündigung über das neue Album kommt „The Low“, eine stimmungsvolle, metallische Triphop-Single aus „Bolted“. Barnes kommentiert den Track wie folgt: „‚The Low‘ basiert auf einem Beat, den ich ursprünglich für Yoko Ono vorgesehen hatte, und enthält Elemente, die ich sowohl am Anfang als auch am Ende des Albums gemacht habe, und verbindet so viele der Sounds und Emotionen, die ich während des Schreibprozesses erforscht habe. Das begleitende Video, das ich zusammen mit Sam Wiehl gedreht habe, vertieft einige meiner Artworks und die visuelle Welt, die das Album begleitet.“.

Timeless. A voice, once heard, forever recognized. Like Edith Piaf, or Patsy Cline. Not that Jill Barber sounds like them, but she has the kind of voice they had. Unmistakable. Somehow so connected to
the heart, that the song comes clear and true to the listener, naffected, unsullied by fashion, untouched by commercial necessity. It is a voice that stops time. And the songs. Great songs need an
underlying truth, even wisdom. Jill’s songs don’t sound “written”. They sound like standards, like they were always there, waiting for her voice to take full flight. For those that believe they don’t write songs
like they used to, there is new hope for old romantics: On Chances, Jill Barber takes a giant step forward from the typical confines of the singer-songwriter and delivers an album of original, fully orchestrated songs that are often mistaken for classics. The moment the music starts you are taken back to a time where music was romantic, where it dwelled in beauty, and was full of life.

With Chances, Jill has aligned herself with a talented array of performers in capturing the classic sound of a bygone era. Outside Music is proud to reissue Chances for its 15th Anniversary, pressed on limited edition Orchid coloured vinyl.

Jill Barber's 2013 masterpiece "Chansons" is an album of interpretations of classic French songs from both France and Québec. Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. “I spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf,
poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.” Jill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee,
and winner of the Sirius/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world.


Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services. Outside Music is proud to reissue "Chanson"s for its 10th Anniversary on limited edition Blush
coloured vinyl.

Brian Auger’s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger’s unique experimentation culminated in rhythm-infused jazz funk that united Black and white ’70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group’s diverse musical influences and progression, from the 1970 self titled debut’s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975 - this process no doubt powered by the groups’ evolving line up, which included guitarists Jim Mullen and Jack Mills, drummers Robbie McIntosh & Steve Ferrone, bassists Barry Dean and Clive Chaman and vocalist Alex Ligertwood. The musical highlights within Complete Oblivion are many, but particular highlights to mention have to be Total Eclipse (Oblivion Express), Fill Your Head With Laugher (A Better Land), the blistering cover of Eddie Harris’ Freedom Jazz Dance (Second Wind), the Barry Dean composition Whenever You're Ready, the version of Marvin Gaye’s Inner City Blues (Closer To It), Beginning Again (Straight Ahead) and the mind bending keyboard tour de force Brain Damage (Reinforcements). Given the groups legendary status among fellow musicians such as Zucchero and Herbie Hancock, DJ’s like Kenny Dope and Gilles Peterson and Auger’s legion of fans worldwide - that mission was fully accomplished - or to put it another way, in the words of super fans The Beastie Boys: “Those who remain oblivious to the obvious delights of Brian Auger’s Oblivion Express do so at their own risk!”

DreamySpaceyBlue is a new Bella Boo album, written and produced early 2023 when dark times demanded love, healing and forgiveness. Cozed-up, self-therapeutic winter-spring studio sessions resulted in Bella's most virtuoso work yet – a collection of dazzling, emotive recordings full of bright notes, deep vibrations and that signature “Boo mood”. The album marks a distinctive step forward in Bella's sound: An amalgamation of the etheric sounds on her 2019 debut album Once Upon A Passion and the ruff and rugged dance tracks on her recent Looney Talks EP.
DreamySpaceyBlue features appearances by a number of Bella's closest confidants in life and music.
The album artwork, designed by good friend Lowe Steiner, portrays her daughter Bozi, who in her turn shot Bella's last album cover – a fitting full-circle arrangement for an album rooted in collaboration,
intimacy and love.

Barbagallo is Tame Impala's drummer and Aquaserge's founder, he lives in Australia and sings in French.

Repress!

The Pretty Things Classic Album S.F. Sorrow re-issued with original UK artwork on Madfish. This vinyl edition of the album re-mastered from the original analogue tapes. It is pressed on 180g heavyweight vinyl and packaged with the original UK artwork gatefold sleeve, with cover art from Phil May.


The Pretty Things created some of the most exciting and innovative records of the late sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.


'SF Sorrow' is one of the great classics of the psychedelic era. The album stands favourable comparison with 'Sgt Pepper' and 'Piper At The Gates Of Dawn' as one of the defining records of the time. Originally recorded at Abbey Road in 1967 and 1968 it was the first and the most complete rock-opera to be recorded and released, pre-dating 'Tommy' by a full year.

The Pretty Things are active today and still play live regularly.

"a psychedelic masterpiece" - The Guardian

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

The first release from Microtonal Records, Residents of Aotearoa: Microtonal Showcase (ROAMS) EP, presents producers currently living in New Zealand and their interpretation of a warm, atmospheric and dark sound with a groove that provokes movement and thought.

Track A1: Astral Aura by Seb Selknam
A pure analog production from Seb Selknam - Astral Aura provides an instant groove from a warm bassline that sits in pure harmony with the kick to give structure to the melodic and atmospheric landscape you are led into. Minimal crisp percussion and echoing vocals add a familiar and human element to the journey as you slowly float through vista's unknown and aura's unseen. This is 08:22 of pure bliss.

Track A2: Bosun by HRZNTL
The last beat drops, the party ends, the taxi awaits. Bosun by HRZNTL is a reflective piece, the transition from pure adrenaline and the buzz of the rave into a lasting memory of a night spent with family and friends dancing at a castle in the hills of Barcelona. The track itself is built around a detuned dubby key which represents the emotions of ending an epic night, it is surrounded by dark and haunting stabs to add to the atmosphere and a bubbling synth which brings an optimistic reality that it's only day one at Sonar.

Track B1: Admiral Frick by Harvo x Patella
The first ever demo sent to Microtonal HQ, Admiral Frick by Harvo and Patella is pure energy. Taking elements of tribal percussion and combining it with acidic stabs, it is balanced perfectly with a wandering atmospheric pad. There are subtle shifts between four four and breakbeat, as it builds with syncopated snares and a beautiful unrecognisable monotonous vocal calling you deeper into mysteries of the jungle at night. Calmness descends to create space for a powerful sweeping drone like bass that drops you back into a hypnotic state of being. Your relationship with this track will be like an addiction, constantly seeking a hit.

Track B2: Introspection by Felipe Martinez
The epitome of a Microtonal Records track; warm, atmospheric, dark and with a groove. Introspection by Felipe Martinez is a microbreaks track that draws you in with a wide pulsating low end and irregular percussive stabs that float from left to right at the high end. A soft acid synth builds and explodes like a solar flare creating an outer planetary experience. The beautifully crafted breakdown gives you time to pause, observe and contemplate, creating space to process your mental state and explore your emotions from the past, present and future. Introspection; 10 minutes of self healing.

Demon Records is proud to present ‘Produced by Tony Visconti’, a new definitive retrospective compilation assembled with the assistance of legendary record producer Tony Visconti.
“This boxset covers five and a half decades of my efforts in the art of making iconic recordings. Some of it is familiar and some will have a eureka moment, ‘I didn’t know Visconti produced that one!’
I am honoured that Demon Records took on this enormous task.”
– Tony Visconti

Often described as one of the most important
producers in rock, Tony Visconti has helped create
countless classic musical moments. His work can be
heard on celebrated albums by artists such as T. Rex,
Procol Harum, The Moody Blues and Thin Lizzy to
name but a few.
• This new collection features 30 tracks personally
curated by Visconti, gathering together some of his
favourite production work from across his career.
• Includes tracks by T. Rex, Sparks, Thin Lizzy, U2,
Dexys Midnight Runners, Gentle Giant, The
Boomtown Rats, Manic Street Preachers, The Good,
The Bad & The Queen, and many more.
• Pressed on 2 x 140g LPs, mastered by Phil Kinrade at
AIR Mastering, approved by Tony Visconti. Artwork
designed by Grammy-winning creative studio
Barnbrook.
• Includes a 12-page booklet with previously unseen
photographs, and extensive track-by-track liner
notes by Mojo writer Mark Paytress based on new
interviews with Tony Visconti.

























x 5. U2 – A Sort Of Homecoming Live

In 2555, in a devastated future, the apocalypse threatens the Earth. The last hope lies with a man capable of time travel. His mission: to return to the past and change the course of events. His target: Gilbert Alibert, a Member of Parliament about to approve the construction of a nuclear power station with the Chinese company Axomako. This event in the present will cause a huge catastrophe in the future, with a radioactive cloud killing half the world's population every 70 years.

Jimmy Tellier and Florent Dorin composed and arranged the film's original music.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

Multi-disciplilnary Swiss artist Zimoun makes large-scale installations of noise and movement from cardboard, DC motors and other industrial objects. He has shown them in prestigious museums and galleries across the globe and now in his new album ModularGuitarFields I-VI he has relied on just one instrument, the Tenor Baritone Guitar, which he has then fused with elements of a modular synth setup and a vintage 1960s Magnatone Amp. It is a deliciously atmospheric work of raw sound, hints of psychedelia and gritty microsounds that are like scone sculptures that evolve as you listen and make for a hypnotic experience. Each new listen reveals a fresh layer to get lost in and as such makes for a fascinating album.

In der letzten Dekade hat sich das britische Independent-Synthpop-Duo EMPATHY TEST als einer der stärksten Geheimtipps der Synthpop-Welt erwiesen. Ihre Hymne "Losing Touch" hat mittlerweile über 6 Millionen Streams auf Spotify und viele weitere Follow-Up-Tracks haben ebenfalls die Millionen Streaming-Marke überschritten. Die sich selbst vermarktende Band ist in den letzten zehn Jahren bei Liveshows und Festivals immer weiter nach oben geklettert. Zum ersten Mal in der Bandgeschichte werden EMPATHY TEST nun ihre vier Backkatalog-Alben über SPKR Special Services und den AMPED-Vertrieb in Europa und Nordamerika regulär im traditionellen Handel wiederveröffentlichen.
Die vier Alben "Losing Touch" (2014), "Safe From Harm" (2017), "Monsters" (2020) und das 2022 erschienene Live-Album "Time To Be Alive" erscheinen auf CD und Vinyl.
In den letzten neun Jahren haben sich Empathy Test zu einer der bekanntesten und beliebtesten Bands in der alternativen elektronischen Musikszene entwickelt, mit begeisterten Hörern auf der ganzen Welt. Empathy Test veröffentlichen nicht nur kontinuierlich erstklassige Musik, sondern tourten auch als Support für Bands wie VNV Nation, Covenant, Mesh und Aesthetic Perfection und arbeiteten sich durch die Line-Ups der deutschen alternativen Musikfestivals wie Wave Gotik Treffen, Mera Luna, Amphi, Plage Noire und NCN, bevor sie nun ihre eigenen Headliner-Touren durch Deutschland, Großbritannien und die USA anführen. Die Band plant eine ausgedehnte Nordamerika-Tour mit über 30 Terminen im Oktober 2023, sowie eine 10 Jahre Jubiläums-Tour in Europa für das Frühjahr 2024.
Das Londoner Duo, bestehend aus den Kindheitsfreunden Isaac Howlett (Sänger, Songwriter) und Adam Relf (Komponist, Produzent), hat Musik geschrieben, die von der Presse als "wunderschön" und "opulent" (Clash Magazine) beschrieben wurde und "zeitlose Melancholie (Hymn) enthält. Ganz auf sich allein gestellt, haben EMPATHY TEST mittlerweile über 4000 Vinyls und 6000 CDs im Eigenvertrieb verkauft und damit das Maximum erreicht, was man im Selbstvertrieb erreichen kann. Nun schließen sie sich mit dem Independent-Vertrieb SPKR Media zusammen.

“Jack With A Feather” was the first vinyl album (after the private cassette only release of “Rowdy Dowdy Day”) by SPRIGUNS OF TOLGUS, just before they shortened their name to SPRIGUNS and signed to Decca, recording two classic progressive folk-rock albums.



Recorded in a cottage in the middle of nowhere, the album offers mostly traditional songs with charming homemade atmosphere, psychedelic touches, male / female vocals (by MANDY MORTON), acoustic/electric guitars, mandolin, dulcimer, fiddle… One of the tracks, “Seamus The Showman”, originally written by Tim Hart of Steeleye Span (future Spriguns producer), landed the band a deal with Decca Records.

ONE MORE TIME... ist das mit Spannung erwartete neue Album von blink-182, auf dem die ikonische Besetzung der Gruppe wieder zusammenkommt - Mark Hoppus Bass, Gesang, Tom DeLonge Gitarre, Gesang und Travis Barker Schlagzeug. Das Trio nahm ONE MORE TIME... im Laufe der Jahre 2022 und 2023 auf, inmitten ihrer erfolgreichen Reunion-Tour, die Arenen, Amphitheater und Stadien auf der ganzen Welt ausverkaufte. ONE MORE TIME... enthält 17 neue Songs, die die Band auf dem Höhepunkt ihres Könnens zeigen

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

"The ‘Invite me, kindly (Double EP)’ features the band’s debut EP ‘A Thousand Times’ and the band’s sophomore work 'Invite me, kindly'.
‘Invite me, kindly’ is about accepting people who have hurt you before, letting your doubts leave you and feeling free, written with the real and authentic voice of a band barely out of their teens yet already
sharing stages with the likes of Royal Blood, Queens of the Stone Age and Yeah Yeah Yeahs.

The EP features singles 'Drop', 'Phone Machine' and 'High Tea'. Mixed by Alan Moulder (Wet Leg, Arctic Monkeys). Praise for ‘A Thousand Times’ NME' | ‘A band primed to thrill the world’ LOUDER THAN WAR | ’Surely the best debut of the year’ ... ''They make Hole sound like the fucking Carpenters!'

DORK | ‘A viciously searing and uncompromising statement of intent’ "

Feldman's last composition, Piano, Violin, Viola, Cello, was completed in 1987; although its instrumentation largely corresponds to that of Piano and String Quartet, with one instead of two violins, it differs in almost every other respect from the composition written only two years earlier, for here, in contrast to Piano and String Quartet, Feldman makes every effort to integrate the piano into the string section, and the basic formal components of the composition are no longer staves, as they were in Piano and String Quartet, but individual bars... ...From a compositional point of view, the essential change that transfers the "monolithic block" of late orchestral works such as Coptic Light and For Samuel Beckett to chamber music instrumentation is that the material, already largely homogeneous, is rearranged not in whole systems but in small-part permutations, so that the systems and pages no longer represent periods or sections, and a continuous musical progression emerges with a much reduced internal structure compared to previous works.

from liner notes by Sebastian Claren
dissonArt Ensemble is Lenio Liatsou, Piano Theodor Patsalidis, Violin Chara Seira, Viola Vassills Saitis, Violoncello

Reissue of the only self-produced solo album by Barney "Blair" Perry, historic guitarist of the Blackbyrds, is a great production directed by Donald Byrd, "Nightlife" is a cult album, fusion sounds and midtempo funk disco, recorded in 1978, it is simply stunning, a powerful bass and wonderfully soulful sounds thanks to the superb guitar work of the masterful Mr Perry.

Oakland CA's Blue Ocean have been working around the fringes of the
Bay Area indie scene since 2019, honing their very particular noisesoaked racket into a unique and instantly identifiable sound - They blend
elements of shoegaze, pop, noise rock and electronics into a dense,
sometimes disorienting soundworld that embodies a spectral mystery
that recalls forebears like Disco Inferno, Bark Psychosis and Flying
Saucer Attack
"Fertile State" is their debut album, following on the heels of 3 tape EPs and a LP
drawn from those tapes that sold out instantly on release in 2021. Songs like
"Ode," "Fertile State" and "Syncnine" show how much Blue Ocean has grown in the
last few years. They've easily shrugged off many of the markers of their punk/
indie roots, allowing their experimental urges free rein and and the noise to find
it's own level. It's a bracing, invigorating album that truly rewards deep listening
and points the way forward to an intriguing future

Heart's Ann Wilson is releasing a new record with Tripsitter, 'Another
Door'
Prior to starting the 2023 tour, Ann Wilson and her band Tripsitter finished
'Another Door', a record of all-original material, which marks the first time since
the '70s that Ann has written a full- length album collectively with a band.
Tripsitter features Tony Lucido (bass), Ryan Wariner (guitars), Sean T. Lane
(drums), and Paul Moak (guitars and keyboards). Tom Bukovac (guitars) was also
a primary contributor.
ANOTHER DOOR marks the first time in her career where Ann was the sole lyricist
and her presence on a record has never been greater. Ann says, "This is an
exciting time in my creative life; so much new and fresh to remind me of why I
love my calling!"
The cover for 'Another Door' was created by Storm Studio which began in the
early 1990s with Storm Thorgerson, Peter Curzon, Rupert Truman, and Dan
Abbott. Storm Thorgerson and Aubrey Powell co- founded Hipgnosis, who
between 1968 and 1983 created artwork for the likes of Pink Floyd, Led Zeppelin,
Paul McCartney & Wings, 10cc, AC/DC, Genesis, Peter Gabriel, and many others.
Following Storm's passing in 2013 Aubrey Powell has worked closely with Storm
Studio on numerous projects since.
** Widely praised as one of the greatest singers in the history of Rock, Ann's
extraordinarily powerful voice has been sending chills down her audience's
collective spine for over five decades, earning record sales of more than 35
million, an induction into the Rock and Roll Hall of Fame, and a Grammy Lifetime
Achievement Award.
** "Barracuda," "Crazy On You," and "Magic Man" are among the many songs she's
written that now reside in the pantheon of Rock's greatest hits. "This Is Now" from
ANOTHER DOOR plays seamlessly alongside the classics in her current live set.
** Last year Ann sang with Disturbed's frontman David Draiman on the duet,
"Don't Tell Me," from their recently released DIVISIVE album, and lent her voice to
Dolly Parton's forthcoming rock record "Rock Star." Ann Wilson defies genre!!

The Tables was an underground/DIY pop group formed in Oslo, Norway,
in 1987, by Bartleby (vocals), Robert Birdeye (bass guitar and drums) and
Reg Trademark (guitar)
Holiday at Wobbledef Grunch was their second full length album originally
released in 1997 and quickly became a cult classic within the norwegian
underground scene.
The music of The Tables is a mixture of psychedelic pop inspired by English
groups of the 1960s (especially the music represented on the Rubble compilation
series on Bam-Caruso Records) and early indie pop a la Television Personalities.

12” transparent red vinyl - limited to 500 copies. File under: Indie, Folk, Antifolk, GER/FR. In West Africa, where the only water you can find is in the Ocean, Stanley Brinks & Freschard put on their best carnival costumes to get to the bottom of every bottle of rum they could find. They found a lot. Iron Eye is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

ONE MORE TIME... ist das mit Spannung erwartete neue Album von blink-182, auf dem die ikonische Besetzung der Gruppe wieder zusammenkommt - Mark Hoppus Bass, Gesang, Tom DeLonge Gitarre, Gesang und Travis Barker Schlagzeug. Das Trio nahm ONE MORE TIME... im Laufe der Jahre 2022 und 2023 auf, inmitten ihrer erfolgreichen Reunion-Tour, die Arenen, Amphitheater und Stadien auf der ganzen Welt ausverkaufte. ONE MORE TIME... enthält 17 neue Songs, die die Band auf dem Höhepunkt ihres Könnens zeigen

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Soul Clap Records serve up the flavours of Tatie Dee for their next release. Morning Routine is a six-track weave through bumping house complete with trademark remixes from Black Loops and Belaria.

Opener ‘Nuit d'Ménil’ channels journeys home through the 20th arrondissement of Paris, around Ménilmontant, for Tatie and her friends. Those late-night walks inspiring this dreamy glitched out, synth heavy roller.

Next up, ‘Bed and Break fast’ is a dancefloor bumper, raw and emotive yet powerful and punchy. Moving from a breakbeat to a 4/4 rhythm it’s an intoxicating concoction laced with grooving bars, glistening pads and deft sax injections. Black Loops steps up on remix duties honing in on that breakbeat flavour with a late night, blissful, bouncy burner.

On the flip, ‘I Wasn't Born In 1937’ nods to Tatie’s pal Lucas Moinet, who runs Studio 937. The person that introduced her to the world of the MPC, rolling with her to buy her first one. Having got home and plugged everything in, the first sound Tatie composed on her MPC was this one - it was for him.

Next, ‘16 Swing-71’ is a classic-leaning, ‘90s feeling deep house track. Weighty organs and trademark deep house stabs are served with the 16 swing-71 shuffle from the SP1200 to make everything groove just right. Closing it out Baleria puts a fast-paced new beat spin on 'Bed and Break fast’ for a club ready powerhouse remix.

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

These two tracks from Mike Bandoni and Chip Wickham have been a long time coming. These two stable mates from the 'Craig Charles Fantasy Funk Band' have been discussing a collaboration for years and now; it's finally in the bag! Mike brings his trademark killer funky Drums (Recorded by the legendary Malcolm Catto), Percussion, Rhodes, Bass and vintage Guitar vibes to the party whilst Chip delivers some sublime and highly complimentary work on sax and flute. Infinity Pool sounds like a long lost Bobbi Humphrey meets Bob James composition with the flute taking centre stage underpinned by what can only be described as mammoth funk grooves on every other instrument. A true modern Jazz Funk classic with just a fraction more Funk than Jazz! Get It! is a cool number with a phenomenally infectious groove and a hook that stays in the brain for days! Think early Kool & The Gang. You'll be humming these hooks day and night! Chip again raises the bar further with some sublime flute and ...

Repress.

If God had a disco, the DJ would be playing California gospel-soul group The Supreme Jubilees. 'We won't have to cry no more,' the tuxedo-clad group would sing, in high, angelic vocals over smooth grooves. 'It'll all be over.' Prepare to dance and contemplate death all at the same time.

A band of brothers and cousins, the group was founded from two familes: brothers Joe and Dave Kingsby plus Dave's son David Kingsby Jr., and keyboardist Leonard Sanders plus his brothers Phillips (drummer), Tim (bassist), and Melvin (tenor). The Sanders clan grew up singing together in the Witness of Jesus Christ church in Fresno CA, where dad Marion was pastor. Guitarist Larry Price-who belonged to neither family-completed the line-up that recorded the group's first-and, prophetically, only-album, It'll All Be Over.

Released in 1980 on the group's own S&K (Sanders & Kingsby) label, It'll All Be Over pinpoints a fatalistic mood exemplified by the title. Its lyrics drawn from the Old Testament, its sound from the church by way of the disco, and it's a feel captured by the album cover-a low, orange sun setting over the Pacific ocean. It is, as Jessica Hundley observes in the brand new liner notes, 'both apocalyptic and seductive.'

Making the album was not easy. Sessions began in Trac Record Co, a country and western studio in Fresno, CA, where the engineer was so put out by the group's requests for heavier bass in the mix, he stopped the session and kicked them out. They left with four songs-one side of the album-and the record was completed at Sierra Recording Studio in Visalia, CA. Leonard Sanders reported having a spiritual encounter in his sleep while in Visalia; the next day he recorded his part of the album's title track in a single take.

After the LP was pressed, the group took their music on tour, first in California, where they played with acts including the Gospel Keynotes, The Jackson Southernaires, and the Mighty Clouds of Joy, and then on an ill-fated trip to Texas. A follow-up album was planned for 1981, but it never materialized; having slept sometimes a dozen to a room in Texas, the men in the band were reluctant to leave jobs, wives, and kids for the hardship of the road. The group simply fizzled out, even if the friendships never did. 

A copy of the album sold to a fan on that Texan tour made its way to a San Antonio record store, where it was discovered nearly three decades later by collector David Haffner (Friends of Sound). He managed to track down the Kingsby-Sanders clan at a Fourth Of July barbeque in Fresno in 2004. And he eventually introduced the group to Light In The Attic Records, which now presents the album, restored, remastered, and available to the public for the first time.

Land Of My Other is a place of memories and melodies, lyricism and lore. A place of sunlight, faerie-tales and rowan trees; of grief, incarceration and thunder in darkness. A place where ancestral trauma and colonial injustice meet blazing pride, romantic self-rule and hands held in a circle in the sea.

Where songs are sung with feeling, instruments are everywhere and music lives deep in the bones.

Land of My Other. The third studio album by The Breath.

Produced by renowned composer/pianist Thomas Bartlett, and with the wildly acclaimed duo that is singer Ríoghnach Ree-uh-na Connolly and guitarist Stuart McCallum at its core, it's a project that grabs you by the scruff from the off.

Ten original tracks. Raw, gorgeous, acoustic-minded music. Synths and effects so subtle they might be invisible. Negative space created, shaded, created again. Lyrics with meaning, power and an often terrible beauty. Songs that tell stories in ways that soothe, thrill and hit like a sucker punch.
credits
releases October 13, 2023

All tracks written by The Breath
Except ‘Don’t Rush It’ and ‘Without You in it’ written by The Breath and Thomas Bartlett
Produced and arranged by Thomas Bartlett

Ríoghnach Connolly - vocals, flute, shruti
Stuart McCallum - acoustic and electric guitars
Thomas Bartlett - piano, mellotron, op-1, rhodes bass, programming

Hacked Up for Barbecue is the debut studio album by American death metal band Mortician, released on January 28, 1997 by Relapse Records.

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

The album was first available as a (sold out) ltd.edn. coloured vinyl for RSD23 and is now available as a black double vinyl + download edition and also for the first time on CD.

Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge.

Agnetha Fältskog, weltbekannte Sängerin, Songschreiberin, Mitglied der Kultgruppe ABBA und eine der bekanntesten Stimmen der Musikgeschichte, hat 'A+' angekündigt, eine neu aufgenommene Version ihres gefeierten Solo-Albums "A" aus dem Jahr 2013, das am 13. Oktober 2023 über BMG veröffentlicht wird.

Das Originalalbum erschien vor 10 Jahren und wurde nun für das Jahr 2023 komplett neu aufgelegt. Neben der Albumankündigung hat Agnetha auch die atemberaubende Single 'Where Do We Go From Here?" in diesem Jahr neu aufgenommen; einen brandneuen Song, der dem Album hinzugefügt wurde und damit die erste neue Musik seit 10 Jahren von Agnetha als Solokünstlerin darstellt.

Das Album wurde speziell für sie von dem gefeierten Songwriter und Produzenten Jörgen Elofsson geschrieben.

Im Vorfeld des 10-jährigen Jubiläums des Albums diskutierten Agnetha und Jörgen darüber, wie das wie das Album klingen würde, wenn es im Jahr 2023 entstanden wäre, und beschlossen, diese Idee gemeinsam zu verfolgen. Sie arbeiteten mit ihrem Produzenten Anton 'Hybrid' Mårtensson zusammen und überarbeiteten das Album, jeden einzelnen Song, wobei sie den Originalgesang von 2013 beibehielten, die alte Musik wegwarfen und für 2023 völlig neue Produktionen und damit auch eine neue Tracklist schufen.

Das 2013 erschienene "A" war Agnethas erstes Album seit ihrem 2004 erschienenen Coveralbum "My Colouring Book" und das erste Originalmaterial seit "Stand Alone" von 1987.

The classic ‘Continuo’ album from 2006 by Avishai Cohen, available on vinyl for the first time ever.

Includes previously unreleased track, ‘Numi Numi’, from the original recording sessions.

‘Continuo’ shows more of the ethnic side of Avishai Cohen in his composition and sounds.

Cohen is joined by his established trio of Mark Guiliana and Sam Barsh.

Gatefold 180g vinyl.

Der Score von Leonard Küßner zum neuen Wim Wenders-Film. Mit dem über einen Zeitraum von zwei Jahren entstandenen Werk in atemberaubender 3D-Qualität erschafft der Regisseur ein einzigartiges Porträt eines der größten zeitgenössischen Künstler und gewährt uns Einblicke in die Welt Anselm Kiefers, wie man sie sonst nie sehen könnte. Leonard Küßner ist ein preisgekrönter deutscher Komponist für Film, Theater und Konzertsäle und war für den Deutschen Filmmusikpreis (2018) und für die Beste Filmmusik in einem Dokumentarfilm beim Filmfestival des Max Ophüls Preises (2021) nominiert. Derzeit komponiert er seine erste Oper.

The first studio album by British Britpop band Salad, initially released in May 1995 following on one year from their B-sides and singles compilation Singles Bar

Features the charting single ‘Motorbike to Heaven’ which peaked at number 42 in the UK singles charts, becoming the bands highest ever chart position

Drink Me reached number 16 in the UK album charts and received critical acclaim at the time of its release

Features the tracks ‘Your Ma’ and ‘Drink The Elixir’ which had previously been released as singles

Also includes the standalone single ‘Granite Statue’

Pressed up on 140g black vinyl

Includes a signed print / insert from lead singer and Marijne Van Der Vlugt

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

SEVENDUST is an American rock band from Atlanta, Georgia, formed in 1994 consisting of members Lajon Witherspoon (lead vocals), Clint Lowrey (lead guitarist), Vince Hornsby (bassist), Morgan Rose (drummer), and John Connolly (rhythm guitar). Since formation, SEVENDUST have attained success with three consecutive RIAA gold-certified albums, a Grammy nomination, and have sold millions of records worldwide. The group has released a total of thirteen studio albums, and this compilation features 7 incredible records from their catalog

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

Eine spannende Compilation verschiedener Reggae-Künstler mit Coverversionen klassischer Beatle-Songs. Mit Reggae-Stars aus ganz Europa: The Pioneers, Gentleman, Patrice, Pierpoljak und mehr

Als sich The Damned 1989 erstmalig trennten, gründete Leadsänger David Vanian die Phantom Chords. Ihre erste Single, ein Cover der John Leyton-Nummer 'Johnny Remember Me' erschien 1990 und ihre Version von 'Town Without Pity' folgte 1992. Erst 1995 wurde schließlich von Big Beat ein Phantom Chords-Album veröffentlicht, das gekonnt die Genres Rockabilly und Gothic Rock miteinander verschmolz. Zu den Tracks gehörten u.a. mit 'Voodoo Doll', 'Big Town', 'Fever In My Blood', 'Jezebel', 'Chase The Wild Wind' und 'Swamp Thing' eine Mischung aus Covern und Originalmaterial, die aufgrund zu geringer Verkaufserwartung der LP eine reine CD-Veröffentlichung war. Jetzt, fast drei Jahrzehnte später, wird dieser Fehler korrigiert und 'David Vanian And The Phantom Chords' endlich auf Vinyl als 2LP-Set (Black Vinyl) veröffentlicht - natürlich auf Ace Records!

Das selbstbetitelte Debütalbum von Dirty Talons fasst die ersten beiden Aufnahmesessions zusammen, die die Band in den Jahren 2021 und 2022 abgeschlossen hat. Alle grundlegenden Instrumentalstücke sowie die meisten Lead-Vocals wurden in nur wenigen Tagen live im Radiokulturhaus in Wien, Österreich, aufgenommen. Während die Gitarristen Marco und Zock sowie der Bassist Bernie während ihrer Zeit bei ASTPAI in der Vergangenheit mehrere Platten gemeinsam veröffentlicht haben, markiert dieses Album das bemerkenswerte physische Debüt der Sängerin Jess Howells.Jess' Texte erforschen intra- und zwischenmenschliche Kämpfe und Zusammenhänge aus verschiedenen Perspektiven
und berühren Themen wie Angst, Liebe, Unsicherheit, Narzissmus, Wut, Einsamkeit und Bedauern

Als 2017 Ilgen-Nurs Solo-EP No Emotions erschien, war die junge Songwriterin schnell in aller Munde. Ihr damaliger Slacker-Sound wurde als die neue Coolness im deutschen Indie-Pop gefeiert, es folgte eine Europa-Tour und Supports für Bloc Partys Kele Okereke und Tocotronic. Für Ilgen wurde ein Traum wahr, den sie von Kindheitstagen an geträumt hatte: Mit ihren eigenen Songs auf die Bühne!

Sie gewann Musikpreise, wurde zu Features eingeladen, ihre Songs wurden für erfolgreiche Netflix-Produktionen genutzt. Ilgen brach zwei Studiengänge ab, ging von Hamburg nach Berlin. 2019 kam dann ihr Debut Power Nap raus, das sie gleich auf dem eigens dafür gegründeten gleichnamigen Label selbst veröffentlichte. Die Kritik reagierte begeistert.

2022 dann also: Mit einer Handvoll Songs im Gepäck ging Ilgen schließlich mit ihrem Wahlproduzenten Jon Joseph in dessen Studio in San Pedro. Maximilian Barth, ihr neuer Gitarrist, flog über den großen Teich, Sessionmusiker wurden eingeladen. IT‘S ALL HAPPENING nun, das Resultat dieser Zeit, zeigt eine neue Ilgen-Nur, die herausgefunden hat, wer sie sein will, wer sie ist. Es klingt warm und melancholisch, gibt ihrem dunklen Timbre genau die Fläche, die
es verlangt. Und zeugt von gewonnener, hörbarer Reife.