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The Dub Pistols reissue journey continues and some could argue we’ve saved the best for last. Originally released on CD in 2012, the tour-de-force of ‘Worshipping The Dollar’ is finally receiving the vinyl treatment it deserves.

Including festival big hitters such as Mucky Weekend, Alive and Bad Card, this outstanding LP is being pressed on stunning blue and white splatter vinyl and it sounds better than ever. With its hard-hitting beats, infectious melodies, and socially conscious lyrics, 'Worshipping The Dollar' still acts as a commentary on the current state of our world and the detrimental effects of greed. The album features collaborations with legendary artists such as Rodney P, Red Star Lion, and Lindy Layton, adding an extra layer of depth to an already dynamic sound.

From their early beginnings as a soundsystem project, Dub Pistols have grown into a party-rocking live band that ignites festivals and venues. Main man Barry Ashworth has even gone a step further by developing his own hugely successful ‘Mucky Weekender’ festival named after Worshipping The Dollar’s lead single. Mucky by name, Mucky by nature - the festival certainly isn’t for the light hearted!

‘Worshipping The Dollar’ serves as a testament to Dub Pistols’ enduring spirit and tenacity and you can now pre order the album on how it was originally meant to be listened – on glorious vinyl.

a Alive feat. Red Star Lion 04:42
b West End Story feat. Akala 03:42
c Mucky Weekend feat. Rodders 05:08
d Bang Bang feat. Ashley Slater [03:33]
[e] Rubadub feat. Lindy & Dan Bushall [05:00]
[f] New Skank feat. T.K. [04:18]
[g] Rocksteady feat. Rodney P & LIndy [04:20]
[h] Countermeasure feat. T.K. [04:40]
[i] Gunshot feat. Darrison & Rodders [05:42]
[j] Bad Card feat. Dan Boskills [05:22]
[04:16]

John Lee Hooker - "It Serve You Right To Suffer (Verve Acoustic Sounds Series)" 180g Heavy Vinyl LP Released on the Impulse! Records label in early 1966, this collection is a mix of new compositions and re-workings of tunes John Lee Hooker had previously recorded, including a cover of Barrett Strong's 1959 Motown hit "Money (That's What I Want)." Featuring Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you're likely to come across. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. Verve Label Group; Verve; Jazz; Catalog

Following a string of successful releases and performances at some of the electronic world’s most revered underground venues, Italian DJ and producer Matisa returns with her captivating new single, '1234 Bisous', out now.

With sultry vocals and classy tech-house sensibilities, this deep, rolling cut is primed for the dancefloor. Nodding to Matisa’s love for euphoric, nostalgia-inducing rhythms, shimmering acid and piano-laced sounds, the gorgeous single offers a glimpse into her forthcoming mini-LP, ‘In My Head’ due for release on 31 January 2025.

'1234 Bisous' carries the same bold energy that has solidified her place in the scene while introducing a more introspective and emotional depth to her sound; a deeply personal track that encapsulates the bittersweet emotions of fleeting love and the unexpected start of a new romance.

“Un deux trois quatre bisous, I was keeping just for you, But then I wake up in a boom, Just a lad lays in my room”.

"This track captures the bittersweet end of a significant love story as a new one begins. It’s not your typical love-at-first-sight scenario… It took a solid five minutes for that spark to ignite and that undeniable feeling to hit." – Matisa

Known for her uplifting, radiant house selections and productions, Matisa's music carries a distinct energy—shimmering with bold rhythms and acid-driven sounds that draw from 90s rave culture and global club scenes. Her versatility behind the decks not has also made her a standout at world-renowned venues such as Berghain | Panorama Bar, fabric, and Circoloco, where she consistently delivers unforgettable sets.

With past releases on respected labels like Gudu Records, Butter Sessions, On Loop, and Optimo, Matisa’s upcoming mini album marks a major milestone for Matisa, as she showcases an ever-evolving sound and her remarkable production prowess, seamlessly blending both nostalgic elements with futuristic sounds and a raver’s spirit.

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

Brooklyn Sounds legendary second album from 1972, full of heavy Nuyorican underground salsa dura propelled by raw trombones, off-kilter piano and in-your-face percussion. A perfect blend of barrio attitude and Caribbean swing, the album proves Brooklyn has sabor y salsa! Pressed on 180 g vinyl, our reissue includes liner notes featuring never-before seen photos. “Libre – Free” is the now legendary second album by the short-lived Brooklyn Sounds and is arguably even better than their self-titled debut, displaying a more mature and practiced sound, no doubt honed by their experiences playing more gigs in support of their first record. Brooklyn Sounds were one of a handful of garage salsa bands from the independent scene that was gathering steam in the early 1970s in the New York boroughs, despite little support or exposure in the mainstream Latin music industry from more dominant labels like Fania, Mericana, Cotique and Alegre. As with many others, Brooklyn Sounds briefly fluoresced in a burst of creativity and defiance, yet flamed out shortly thereafter, dying like a flower among the ruins of burned-out apartment blocks in the barrios of its home city. Though the band only cut two LPs and a couple singles in their brief half-decade of existence, and never really broke out of the cuchifrito circuit in the tri-state area of New York, New Jersey and Connecticut, their music gradually spread far and wide, eventually becoming a sought-after global commodity by the late 1990s. In contrast to the first album “Libre – Free” is uptempo and ebullient, with fewer slow songs and more confident, creative arrangements, full of heavy Nuyorican underground salsa dura propelled by raw trombones, off-kilter piano and in-your-face percussion. Standout tracks include the uplifting, anthemic ‘Libre soy’, and ‘Ha llegado el momento’, with its minor key ‘Moliendo café’ quote at the
beginning—both of which have become dance floor anthems over the years. Another mid-tempo killer is ‘Guaguancó tropical’, a favorite in Colombia since the 1970s. A perfect blend of barrio attitude and Caribbean swing, the album proves Brooklyn has sabor y salsa!

Straight from the bustling scene of Brussels comes Nous'klaer Audio's latest signing: an effervescent debut album by the young Belgian-Japanese producer, live-performer, pianist and DJ Gaiko. Gaiko (real name Kaito) bursts onto the scene with a nine-track full-length album that highlights the rich and diverse output of this emerging talent. His first offering spans left-field electronics, IDM and DnB, blending intricate drum-programming with lush synths and contemporary, contrasting piano pieces. The long player has been shaped into a push-and-pull dynamic of tempo and mood, a flow of quests that gradually grow into their entirety. From atmospheric textures to tight, propulsive beats, Gaiko builds layers that ripple into each subsequent track. This contrasting yet complementary energy flows from the tender "Millennium" into the unassuming highs of "Setagaya," while the floating electronica of IDM-leaning tracks "Subdued" and "Ever's Lullaby" build up to standout tracks "Martyr" and "Crush." Gaiko's self-titled debut balances euphoria with introspection through an unusually sophisticated playfulness, a rare quality that makes this vivid young artist all the more promising. The 180g vinyl comes in a heavyweight sleeve with artwork by Loe Duval (aka Barwouf) and includes a download card.

Regarded as his masterpiece, Closer ToIt features some of Augers" most inventive and beautiful Hammond Organ and Fender Rhodes playing, on tunes that become the defining tracks of his career, especially the anthemic opener Whenever You"e Ready, co-written with bass player Barry Dean. Happiness Is Just Around The Bend was later covered by Cuba Gooding Snrs" band The Main Ingredient who had a major hit with their version. Auger also saluted his soul and jazz hero" with his versions of Marvin Gays Inner City Blues and Eddie Harris, Les McCann" classic Compared To What. With an iconic cover featuring the Oblivion Express train logo designed by Auger" wife Ella. Closer ToIt remains a high pointin Auger" recording career.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

Wewantsounds is delighted to announce the release of Al-Qasar's new album, "Uncovered", is a side-project from the group featuring covers from the Western and Arabic repertoires, as well as new originals composed by the group. The album was recorded in Europe and Africa and features guest appearances by Alsarah, Mamani Keita, Cheick Tidiane Seck and Sami Galbi. The group, who has recently come out of a US tour will give more concerts in 2025 to support the album and spread further their Arab-futurist psych rock sound.

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

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

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

Upcoming concerts

December 8, 2024
Begijnhofkerk, Sint Truiden, BE

December 12, 2024
De Bijloke, Ghent, BE

December 14, 2024
De Bijloke, Ghent, BE

Cobra & The Brotherhood of the Grape is a celebration of friends making music together for many years. An album conceived in the Clot neighbourhood and recorded in Barcelona, Mallorca and Buenos Aires. An "All Stars" occasion where many of the musicians who have played in STA over 20 years have come together to contribute.

The album features digital dub, dark roots and other sunny and bright tracks. Experimental and electronic, but also analog and dense in textures, and delicate in showing it.

After 20 years of the first CD, STA follows their personal path to make Dub. A special mention deserves the album's art by Tomás Spicolli, an old friend and collaborator of STA. Cobra & The Brotherhood of the Grape is the sixth LP in vinyl format within a production that also has several CDs, 7'' and cassettes.

A completely self-produced album. All original riddims. Dub for adults.

Four years have passed since Young Knives’ last studio outing – 2020’s aggressive and philosophical look at humanity’s propensity for hyper-violence, Barbarians – and during this time the band have taken a step to consider the changing of the world around them, their place in it, and the sometimes-futile pursuit of controlling what it is that we leave behind when we’re gone. Music fans will pick-up on the tongue-in-cheek use of the word "landfill" as an album title from a band that emerged during the post-indie-rock-revival of the 00s. But rather than dwelling on the derogatory landfill stick that has sometimes comes to beat them, Young Knives instead use this coming phase of their career to contemplate the nature of existence and how best to catalogue it through song. As lead singer and guitarist Henry Dartnall puts it, “it’s a record is about letting things go before they are taken from you, including the carefully curated images of ourselves. Embracing everything the world throws at you and not taking it to heart.”

Four years have passed since Young Knives’ last studio outing – 2020’s aggressive and philosophical look at humanity’s propensity for hyper-violence, Barbarians – and during this time the band have taken a step to consider the changing of the world around them, their place in it, and the sometimes-futile pursuit of controlling what it is that we leave behind when we’re gone. Music fans will pick-up on the tongue-in-cheek use of the word "landfill" as an album title from a band that emerged during the post-indie-rock-revival of the 00s. But rather than dwelling on the derogatory landfill stick that has sometimes comes to beat them, Young Knives instead use this coming phase of their career to contemplate the nature of existence and how best to catalogue it through song. As lead singer and guitarist Henry Dartnall puts it, “it’s a record is about letting things go before they are taken from you, including the carefully curated images of ourselves. Embracing everything the world throws at you and not taking it to heart.”

Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. Time To Let You Down is a savage blast of junk shoppe punk that kicks you in the ding ding. This eleven track LP is chock full of fist pumpers, head bumpers, stinky dumpers, meaty thumpers and toe stumpers. The tempos are often breakneck and the dense arrangements tumble like bricks into hot cheese. The undeniable sonic girth barges at will into lathered ear tubes allowing these barbaric anthems to echo in hollow domes. Feel the whip crack break skin on the acne scarred backs of our cultural oppressors. The sound is tough. The songs are a bitch. Incite your expectations with the single “Fed To The Dogs” or the title track. Salty leather and wobbly chain link fences can’t contain its rebel intent. These recordings took place Oct. 2024 and features Swami John Reis on guitar and vocals with contributions from Jason Sinclair (Hot Snakes), Joey Guevara (Swami and the Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman’s Water). The record was produced by John Reis, engineered and mixed by Ben Moore and mastered by Dave Gardner. Time To Let You Down is pressed on virgin, Egyptian pellets and available in limited, colorful vinyl that have been hand-swirled. You’ll not only clearly hear the difference, you will see it as well.

Maverick musician and artist Edvard Graham Lewis returns with ‘Alreet?’: an exciting album of majestic, experimental pop. Yet, the cheery North Eastern greeting of the album’s title belies the tension and drama that lies within. Here, you’ll find visceral rhythms, warm electronics and multiple melodic layers, with words that are sometimes sung, sometimes spoken. Lewis’s deep, distinctive voice has matured into a rich baritone: portentous yet immediate - and it serves his material exceptionally well. Although he is perhaps best known as bassist/ vocalist/lyricist with post-punk titans Wire, Lewis’s solo work is equally powerful. Lyrically he remains one of our finest wordsmiths. His desire to edit his text to its essentials is smartly counterbalanced by an ability to seed double or triple meanings in his phraseology. Consequently, the whole enterprise is studded with lines and couplets that snare our attention with unexpected hooks and barbs. The album is co produced with Swedish songwriter, producer and musician Max Lorentz, who has worked with everyone from acclaimed composer Magnus Lindberg to ABBA’s Agnetha Faltskog. As ‘Alreet?’ clearly demonstrates, Lewis is still firmly facing the future and determined to unearth new sonic treasure. Indeed, this is one of the most starkly original albums you will hear all year

Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, »Oval Sun Patch« sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With »Oval Sun Patch,« Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far—beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward.

A life lived in transit, the vastness of bodies of water and the isolation of islands as well as more generally notions of processes and progress have been recurring motives throughout Stroetges’ previous records and also mark »Oval Sun Patch.« In fact, the foundation for the six pieces was laid when she was working abroad and at times close to the sea. The massive three-part album closer »Earth Before The Space Race« was conceived as a multi-channel audio-visual performance piece during a 2021 residency at Zaratan Arte Contemporânea in Lisbon. The others were written in the following year during two other residencies when Stroetges first spent time in Austria at the sound art festival Klangmanifeste in Lindabrunn and then visited Portugal once more for a stay at Goethe-Institut in Lisbon. With the help of Shelley Barradas, who lent her a guitar, and Julia Klein, who helped her setting up a temporary studio in the Goethe-Institut Portugal’s auditorium, she made the preliminary recordings of what would later become this album.

»Oval Sun Patch«, later refined in Berlin and mixed in close collaboration with London-based engineer Hannes Plattmeier, is a direct result of Stroetges having to work with what was available to her at the time of writing and recording. While her distinct guitar playing—evocative yet funky, complex but catchy—once more features heavily and she uses her voice in manifold ways to sometimes harmonise with herself or creating complex canons as counterpoints to her her own lead vocals, the electronic gear she worked with dominates the album both compositionally and sonically. Stroetges’ music has always displayed a passion for club culture and advanced electronic music, but on »Oval Sun Patch« she proves once and for all how well these influences can be integrated into her unconventional approach to songwriting.

However, the punchy beat and Moroder-like bassline that form the backbone of »Dolphins With Soft Helmets,« the throbbing house and techno grooves underneath »Ephemeral Carnivores« and »Well-Oiled Machine« as well as the jittery IDM rhythms of »Google Your New Name« and her nods to trip-hop with »Tiny Island« do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Nowhere does this approach feel more epic than on the 12 ½ minutes long »Earth Before The Space Race,« which takes its time to unfold, changing its pace and mood throughout.

»Oval Sun Patch« is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.

"CQQL Records is a “sequel” to the timeless production ethos of the 80s and 90s: a time when labels truly invested in production, artist development, and put out releases that still influence today’s generation of producers, djs, dancers, and collectors. We’re continuing the story of boogie, AOR, funk, house, soul, r&b, and more, and further developing the themes we feel are classic and need to live on while making sure that each project fits its own lane and style. We’re fond of analog sounds and gear, releases produced on physical media, and paying homage to djs, collectors, and the musicians themselves: an homage but never a replication."

Introducing "Stop 2 Quit," a captivating new deep, jazzy, and lo-fi house music 12" compilation EP that delves into the art of sonic escape amidst the overwhelming noise of modern life. Featuring a hard-hitting lineup of producers — Darone Sassounian, Jamma D, and Jarren representing Los Angeles, Roche in Portland, and Morris Mobley in Nancy, France — each track serves as a remedy to the relentless barrage of messages and distractions that flood our minds.

I first saw Hugh and Jackson play together at Good God’s ‘Soft Future Piano Bar’ at the Sydney Opera House in 2017. That year was a fruitful year for the two as artists and for the Sydney music community in general. I remember that all of us, along with Greville and Brad, hosted a DIY party in a tunnel under a highway somewhere near Sydney Airport. Is that the same tunnel that Tunnel Dancers derived their name from? 7 years after that first meeting at the Sydney Opera House, Hugh and Jackson have released an album. Listening to these songs there is an audible patience and understanding between two musicians. They probably could have released something else a long time ago, but chose to wait - instead enjoying bowls of laksa on their lunch breaks and sharing long, quiet conversations at The Babylon Sauna & Spa. When the next warm bowl of noodle soup arrives on your table, how long will you let it sit before you dive in? Soup first or noodle first? If you learn from these songs, perhaps you will know to first observe the whole bowl. Observing in this way, the moment settles and hovers and remains for much longer than a moment.

Dive Into the Pulsating Beats and Euphoric Melodies of Liverpool's Electronic Sensation, North 90, as They Unleash Their Highly & New Anticipated Ep. Hailing From the Heart of the Uk, This Band Draws Inspiration From the Iconic Sounds of Early '90s Uk House, Paying Homage to Legends Such as 808 State, a Guy Called Gerald, Lfo and Altern 8. Venture Further Into the Ep, and North 90 Reveals Their Profound Connection to the Madchester Era, Evoking the Spirit of Happy Mondays, Remixed by Paul Oakenfold, and the Psychedelic Vibes of Stone Roses, Remixed by Grooverider. the Sonic Exploration Reaches Its Zenith With the Opening Track, the Incredible and Euphoric "I'll Say Yes (Becca Mix)," a Masterpiece Reminiscent of the Cult Project Band N-Joi. as the Ep Unfolds, Each Track, From the Powerful "Baracuda" to the Ethereal "Fantasy" and the Dynamic "The Hack," Showcases North 90's Mastery in Crafting a Sonic Landscape That Transcends Time. the Collective Brilliance of the Ep Leads Us to Proclaim North 90 as a Band to Watch, With Tracks So Exceptional That They Border on the Realm of Genius. in a Musical Journey Where Each Note Reverberates With the Essence of a Bygone Era, North 90 Stands as a Testament to the Greatness of England. the Beats Are Timeless, and the Memories Are Eclipsed in a Symphony of Sound. England Is Vast, England Is Eternal, and North 90 Emerges as a Beacon, Carrying the Legacy of Uk House Into the Future. Their 12 Inch Is Not Just an Ep; It's a Sonic Testament to the Enduring Spirit of Electronic Music....

The latest from prolific producer and trumpeter Michael Leonhart (Steely Dan, Mark Ronson, El Michels Affair, Elvis Costello). The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. The Leonhart Brass Band was conceived during the 2020 COVID-19 quarantine when trumpeter/composer/producer Michael Leonhart was unable to perform with his 18-piece orchestra at NYC's famous Jazz Standard. Leonhart began composing music for a small brass band that would be capable of playing outdoors without amplification. Building on the foundation of the classic brass bands (Dirty Dozen Brass and Rebirth Brass Band), Leonhart has infused elements of hip-hop and funk to create his own sound. The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. "Jabbar" – Dedicated to and inspired by hooping legend Kareem Abdul Jabbar (aka Lew Alcindor), whose father was a transit police officer/jazz musician and whose mother worked as a department store price checker. In addition to Jabbar's storied career on the hardcourt, Jabbar grew up surrounded by jazz and has been a die-hard music fan his entire life, tragically losing his vast record collection in a 1983 fire that destroyed his LA home. Leonhart's tribute centers around an infectious bass riff in C minor, punctuated by brass stabs and solos by Leonhart on trumpet and Jason Marshall on the seldom-heard bass saxophone. "The Iceman" – The title is taken from basketball great George Gervin's famous nickname given to him during his years playing in both the ABA (American Basketball Association) and the NBA (National Basketball Association) for teams such as the Virginia Squires, San Antonio Spurs and Chicago Bulls. Legend has it the name came from Gervin's cool temperament on the court and his rare ability to play incredibly hard without breaking a sweat. "The Iceman" sees the Leonhart Brass Band horn section dividing into two groups as they play counterpoint melodies against one another. The tape echo effected bari sax solo is performed by Stuart Bogie

On the Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.” Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.” Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.

Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.

“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

Get on track with Fidelio and Luca Piermattei.

Fidelio’s triple-vision A-side gives a taste of the unorthodox, blending 90s acid rawness with the timeless elegance. This is where baroque drama meets warehouse ecstasy.

Fidelio unleashes an avant-garde fusion of classical organ melodies and razor-sharp acid basslines, echoing through your spleens. Each track oozes groove, driven by punchy kicks and hi-hats that sizzle like sparks on steel.

Fidelio’s mix pulses with a sense of urgency, like a techno odyssey through a neon-drenched dystopia.

Luca Piermattei will catch you on the flippity-flip. ‘Gas’ feels like a transmission from a synthetic consciousness trying to breach the uncanny valley. The track opens with a pulsating bassline that wobbles like liquid mercury, creating a sense of disorientation. A warped robotic voice enters, glitching and stuttering, its eerie attempt at human inflection both captivating and unsettling.

The groove is undeniable—polyrhythms weave through intricate layers of percussive clicks, offbeat hats, and swelling synth stabs. Just as you think you’ve found the rhythm, the track bends your mind with unpredictable shifts, like machinery spiraling into controlled chaos.

Enter Luca’s wormhole with ‘Third Rec. With Tascam 122’: Meet the captivating 4×4 electro groover that pulls listeners into an otherworldly soundscape. Anchored by pulse-driven basslines, the track delivers a surprising and dynamic arrangement that keeps you guessing.

The sections are seamlessly divided with intricate, pinball-like percussion, creating a playful yet precise rhythm. Perfect for late-night explorations, this track balances hypnotic grooves with unexpected twists, making it a standout on the dancefloor.

The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes.
But perhaps less known are the roots of the Sound System, which began way back when…in Kingston….

Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston.

The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

The early Sound Systems were basic affairs built around a single record deck, a valve amp and a speaker.

But by the 1950’s they had grown to purpose built speakers the size of wardrobes that could be heard blocks away.

Record producer Bunny ‘Striker’ Lee would remember the time ‘Sound Systems was like our radio station…not many people on the island would own a wireless, so it was the way for the people to hear their music.

So this selection of Lovers, Ballads, Root’s classic’s made the Sound Sytems of Jamaica the place to be.

So sit back and enjoy the ride….SOUND SYSTEM ROCKERS …one and all

Born and raised in Argentina, Morita Vargas is an experimental artist and producer based in Buenos Aires. She manipulates her voice through reverbs, delays and whispers, singing in a self-invented 'language'. The sound of Morita’s voice is a portal into her thriving, dreamlike world brimming, shimmering and beating with unrefined natural sensations which stimulate something primordial yet strangely contemporary.

As far back as 2014 she began work on her first productions - early sketches which later became the basis for ‘8’. It all started off as voice memos on her phone (recorded while roaming the streets and riding the trains of Greater Buenos Aires). Later on, Morita introduced various instruments into her vision: kalimba, harmonica, keyboard, flute, tambourine, chajchas, and cajón. Composed and performed from that period until its original release in 2018, ’8’ features 10 original voice-led compositions that in scope recall evocative portraits of synthesized landscapes and rainforests, attuned to a vibrant modern pulse and enchanting vocals. Morita Vargas “8” has achieved a kind of polyphonic soundscape which evokes unfamiliar realities through voyages within and between the realms of ambient and experimental music.

In numerology the number 8 symbolizes the transition between heaven and earth, the illumination of our infinite capacity for various metamorphoses. Tackling ideas of transformation, mutation, cyclical processes, death, creation, melancholy, and joy, the album you are holding is a monumental and deeply personal statement. You are invited to walk barefoot down the mystical path and indulge in the process of spiritual expulsion and renewal that is ‘8’. The path lies along the route of infinite meanings, somewhere on the border between dream and reality.

This release presents the complete original LP Barretto Para Bailar, which was Ray Barretto's debut album as a leader.

Last release of a productive year for Feral Child sees a fabulous mini LP from London based, Japanese Psych band BARBICAN ESTATE. Six beguiling tracks of atmospheric, occasionally acid folk flavoured, melodic > freakout shifts, taking in tips of the hat to Popol Vuh (check Miri’s beautiful vox on “Angel”), Amon Duul and fellow countrymen Acid Mothers Temple and Kikagaku Moyo amongst others. Formed in 2019, this three-piece consists of Kazuki Toneri (guitar, sitar), Miri (bass, flute, vocals), and Koh Hamada (drums, percussion). Each member is well-versed in music, film, and various other arts, drawing inspiration not only from experimental, psychedelic rock, and noise music but also from art across the world, both past and present. Their music weaves solid, architectural elements with destruction into a dark and gloomy soundscape, is often described as "dark psychedelic." They released their first album, “Way Down East”, in 2021. In 2022, they relocated to London, where they performed on UK tours and at festivals. Having already played nearly 50 live shows, they are gaining attention in the local scene. Their latest EP, "Viscum" was released in June 2024. “Barbican City of Tokyo” is a compilation of tunes previously consigned to digital release only that label head, Dom had free rein to assemble an EP from, which luckily the band wholeheartedly agreed upon! …and all four tracks appear on vinyl here for the first time. This release hopefully cements a growing interest in the band’s fabulous music, and early reviews of both the LP here and their live shows are overwhelmingly positive.

Starting off the dance on the A side, we have Blaze pres. UDAUFL with 'Most Precious Love (DF's Future 3000 Mix)' featuring the iconic Barbara Tucker on vocals. The driving piano bass line gets you in the groove just before those unmistakable lyrics break you into song.

A2 gets us reminiscing about those 'good old days', letting loose on the dancefloor in New Jersey’s Club Zanzibar. A legendary club spot back in its heyday, championed by its resident DJ Tony Humphries. A strong club cut, produced by Jovonn with vocals bringing the track to life by vocalist LY.

On the B side, we start with 'Closer (King Street Moody Club Mix)' by Mood II Swing feat. Carole Sylvan. It's a real dancefloor banger produced by one of the best house duos in the game!

Wrapping things up is the euphoric 'Cascades of Colour (Wamdue Black Mix)' feat. Gaelle on vocals and produced by Ananda Project. It's a timeless track, perfect for any sunrise or sunset.

House heads unite. An absolute must have

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Faszinierend, energiegeladen und hypnotisch! Prepared - ein freigeistiges Trio, das in kammermusikalischer Besetzung unkonventionell und instinktiv Tanzimpulse weckt und den Hörer in einen tranceartigen Klangraum entführt!

Ein Pianist, der auf dem Flügel unablässig hämmert, klopft und zupft. Ein Klarinettist, der in den Tiefen seiner Bassklarinette mehr Bass als Klarinette spielt. Und ein Drummer, der wie eine gute Schallplatte immer weiterläuft und die Grooves fortwährend im Kreise dreht.
Drei Münchner Jazzmusiker, vereint in Ihren Gegensätzen. Wo der eine mit Quadro Nuevo argentinischen Tango, der andere mit Dreiviertelblut "folklorefreie Volksmusik" oder der dritte mit Moop Mama deutschen Hip-Hop spielt, lassen sie in ihrem neuen Projekt Prepared gemeinsam zyklische Motive und raffiniert geschichtete Muster in minimalistischen, aber höchst virtuosen Kompositionen zu einem faszinierenden Gesamtkunstwerk verschmelzen. Als hätte man Jonny Greenwood, Dawn of Midi, Nik Bärtsch und Steve Reich in einen Topf geworfen.

Line-Up:

Chris Gall • prepared piano
Flo Riedl • bass clarinet
Christoph Holzhauser • drums

The Recording: Für eine "state-of-the-art" immersive Musikproduktion wurde die Musik "live" in einem Raum ohne jegliche Overdubs aufgenommen. Dieses Album wurde mit erstklassigen 3D-Aufnahme- und Mikrofonierungstechniken für Dolby Atmos aufgenommen und von renommierten Toningenieuren gemischt und gemastert.
Recorded by Kseniya Kawko at Kyberg Studio, Munich, mixed by Kseniya Kawko at MSM Studio, Munich and mastered by Christoph Stickel at csmastering, Vienna

Format: Schwarzes Vinyl inklusive Downloadkarte

Celebrated French, New York-based pianist Romain Collin is thrilled to announce the release of his highly anticipated solo pianoalbum, "Dust." The album, showcases Collin's exceptional talent and unique approach tostorytelling through music."Dust" is a testament to Collin's obsession with the expressive power of a single note. Drawing on his deep love of songwriters such as Bob Dylan, Paul Simon, Joni Mitchell, Björk, and Sting, Collin infuses each piece with the warmth and intimacy of theupright piano. The album features a collection of original compositions and carefully selected covers, distilled into a bare-bonessolo approach that creates a cohesive and comforting mood."I have always been fascinated by how much story can be conveyed through a single note," says Collin. "This album reflects my journey of exploring the purity of expression and the raw, luminous sound that solo piano can offer. It's about balancing beautyand emotion, and I hope listeners can find solace and connection in these pieces."

"Saltburn is the 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten.

The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.
The music was created by Anthony Willis, who previously scored Fennell’s Promising Young Woman among others. Saltburn is available on black vinyl and includes an insert. "

Established in 2014, These Wicked Rivers are Derby’s entry to the new wave of rock and roll that is sweeping across the United Kingdom. Drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock steadily picking up plaudits for their gutsy live performances across the UK and beyond.

The ensemble received a slew of positive reviews for their debut EP ‘The Enemy’ back in 2015 and followed it up with 2017’s ‘II’, gaining them attention within the emerging UK rock scene as well as airplay on Planet Rock radio. Debut album ‘Eden’ was released in May 2020 and brought new levels of critical acclaim, including a Classic Rock Magazine ‘High Hopes’ feature as well as a coveted ‘Track of the Week’ accolade.

On the live circuit the lads have forged an ever-growing fan base through supports with the likes of Massive Wagons, Those Damn Crows, Kris Barras and Hayseed Dixie, as well playing stand-out performances at festivals such as Planet Rockstock, Steelhouse Festival, Stonedead Festival and Giants of Rock. 2024 has proven to be their busiest year yet, kicking off in January with a hometown show that sold out in just 5 hours. Eden's highly anticipated follow up, 'Force of Nature' dropped 1st March 2024 via Fat Earth Records, reaching no. 3 in the UK Rock Charts which called for an almighty (sold out) celebration at Matlock Bath's Grand Pavilion. The band ventured to Europe for the first time in April, delivering 'Peace, Love & Lampshades' to sell-out crowds across France, Germany and The Netherlands before another successful UK tour in May which saw the 'Rivers "Family" of fans continue to grow

Das sechste Studioalbum der schottischen Band Franz Ferdinand!

In The Human Fear geht es um das Menschsein und die Ängste, die uns dazu machen, aber man hätte es auch kühn nennen können. Kühn auf eine Art, wie wir es gerne sind. Es ist ihr sechstes Album, das sie mit dem Produzenten Mark Ralph hauptsächlich in Schottland aufgenommen haben, mit ein paar Overdubs in London und Paris. Bob Hardy und Alex Kapranos gründeten die Band 2002, Julian Corrie und Dino Bardot kamen 2016 dazu und Audrey Tait 2021. Dies ist die erste vollständige LP mit Dino und Audrey, obwohl sie auf den letzten Singles mitgewirkt haben und mit der Band ausgiebig getourt sind. Unsere Ängste definieren unsere Menschlichkeit. Wir finden unseren Charakter und unsere Persönlichkeit, wenn wir unsere Reaktion auf sie verstehen. Was sie auslöst. Es ist nicht unbedingt die Angst selbst, die uns menschlich macht, sondern das, was wir mit ihr machen oder was wir zulassen, dass sie mit uns macht. Was wir nicht wählen können und was wir können. Unsere Ängste sagen uns, wie wir menschlich sind. Jeder Song hängt an einer anderen Angst. Es geht darum, in den Abgrund zu blicken und dann zu sagen:
"Scheiß drauf... ich kann genauso gut noch einen trinken, bevor ich hineinfalle." Es gibt klangliche Überraschungen und verschiedene Perspektiven auf dem Album, aber wenn man die Band kennt, weiß man, dass sie es gemacht hat. Die es genossen haben, es zu machen. OK, einige der Themen können ein wenig düsterer werden, aber es gab Licht und Freude beim Zusammenstellen.
Das Album beginnt mit dem Track "Audacious" der als Vorabsingle den Ton für das Album angibt. Die zweite Single, die im November erscheinen wird, ist "Night Or Da"y, die sowohl in den Texten als auch in der Musik die Spannung zwischen Angst und Spaß darstellt. Das klangvolle Synthie-Stück "Hooked" zeigt eine andere Seite des Albums und wird unser Fokus-Track bei der Veröffentlichung sein. Das Album wird Mitte September zusammen mit einer Reihe von Live-Terminen in Großbritannien und Europa angekündigt und am 10. Januar 2025 veröffentlicht. Die Band wird außerdem im Oktober und November für Live-Shows nach Mexiko und Südamerika reisen.

Suicide AFTR 7 is a musical partnership forged across two continents. This cross-Atlantic collaboration was founded in Barcelona by New York’s Neud Photo and London’s Antic.Distributed by Runas, a new label also based in Barcelona. New beat and Proto-Wave influences permeate the 12”.

Lean, mean, and evocative, "Soft Geometry" sets the stage with its blend of classic analogue textures and a sound palette that evokes the darker, more hypnotic side of electronic music. Throaty samples whisper through a synthesizer smoke, sodden bass lines throb against scaling crystalline chords.

The standout track, "Interplay", is an instant classic. Lyrics are distant, words ring, “Distant shadows," as snapping snares and warming pulses pull the listener closer drawing you deeper into its hypnotic world. Across the four offerings, a brooding dance floor looms; a
shadowy square of bodies shrouded in fog, pierced by strobe. This track will stick with you long after the music fades, a perfect blend of light and shade. It's the undeniable dancefloor moment on the EP, forever playful, forever bumpin.

"Last Word" pulses with a cold, hypnotic groove, driven by a deep 808 groove that'll get you moving. Think hypnotic rhythms, driving basslines, and a touch of electro grit. Slow, ethereal strings and shimmering synth stabs create an atmosphere of tension, punctuated
by film noir samples.

A sinister seam runs through the entire EP, coming to the surface for “Blind Spot.” Terse percussive patterns and eclipsed synthlines are stalked by vocals stripped of emotion, the mantra of “We are your enemy” encircling to a close.

"‘Where The Light Gets In' is the debut album from actor & singer songwriter Ben Barnes. The title of the album reflects the hopefulness of the songs, and the perspective earned through lived experience. Ben’s personal hope for these songs is that they encourage finding clarity when life feels sombre, feeling powerful when pain tells you you're vulnerable and lovable when the world tries to tell you that you're not enough as you are. The album is about the different stages of a relationship; beginnings, tension, sorrow, sex, love, endings... nostalgia. It's about how our history and our scars configure to make us who we are in this moment. If a part of us has ever felt broken, we can mend... transforming ourselves into something moreprecious than we were before.

The album was recorded at Apogee Studios in Santa Monica with the band all together, including James Valentine and Sam Farrar (Maroon 5) who also produced the record along with drummer/manager, Paul Hamilton."

On (ii), London & Vienna-based duo Bara & Isa present their singular version of devotional music. After meeting at an experimental choir in Café OTO, the duo started collaborating, mostly by exchanging files (initially during the pandemic and now between London and Vienna). (ii) is their debut album which follows a handful of self-released singles and an EP.

Described by the duo as a "sort of document of personal development, and also the struggles of everyday motions", this is music which embraces contradictions. Themes of reflection, acceptance and care sit side by side with notions of spiralling and falling, as Bara & Isa explore the nuances and complexities of quotidian life. Working with a rich sound palette of organ pipes, electric organ, voice notes, field recordings, vocals, harp, chimes, tuning forks, singing bowls, bells and flute, the duo slow-cooked and composed these beautiful songs between 2021 and 2024, mostly by exchanging files. And that's exactly what this music sounds like: a digital call with a loved one, glitching, slowed down, disembodied, yet heartwarming and comforting. Mesmerizing, inviting and bewildering all at once.

“Their music toys with proximity and intimacy, it carries a romanticism which feels forged from a struggle for connection in an isolating world. Tender, precarious folk ballads for a time which struggles to stay in sync.”
Daryl Worthington — The Quietus

“Late Junction 3 airplay”
Jennifer Lucy Allan — BBC Radio 3

For the Llamas" 1992 debut, Sean O"Hagan, working the sextant to navigate a post-Microdisney course in the musical world, posted them up as a guitar pop band (RIYL: NRBQ, Big Star, Steely Dan), with nine exquisitely crafted examples of the oft out-of-step sound. Had there been no more after this, Santa Barbara would still be sought-after buried treasure by the perennial waves of voyagers seeking these sweet, jangling spices to this very day. 1st ever LP pressing!

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

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

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

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

Named by Q Magazine as one of the "5 Best Compilations of 2000," Romeo Must Die: The Album is the soundtrack to the Andrzej Bartkowiak 2000 film, Romeo Must Die. With executive production from Timbaland, Barry Hankerson, Jomo Hankerson and Aaliyah, the film's star, the album features production from Irv Gotti, Rapture Stewart, Ant Banks, Eric Seats, Mannie Fresh and J Dub. Appearances include B.G., Chanté Moore, Dave Hollister, Destiny's Child, Ginuwine, Joe, Lil' Mo, Mack 10, Playa, Stanley Clarke, and Aaliyah, who appears on four songs. The album debuted at number 3 on the Billboard 200 and was certified Platinum shortly after it's release.

Das sechste Studioalbum der schottischen Band Franz Ferdinand!

In The Human Fear geht es um das Menschsein und die Ängste, die uns dazu machen, aber man hätte es auch kühn nennen können. Kühn auf eine Art, wie wir es gerne sind. Es ist ihr sechstes Album, das sie mit dem Produzenten Mark Ralph hauptsächlich in Schottland aufgenommen haben, mit ein paar Overdubs in London und Paris. Bob Hardy und Alex Kapranos gründeten die Band 2002, Julian Corrie und Dino Bardot kamen 2016 dazu und Audrey Tait 2021. Dies ist die erste vollständige LP mit Dino und Audrey, obwohl sie auf den letzten Singles mitgewirkt haben und mit der Band ausgiebig getourt sind. Unsere Ängste definieren unsere Menschlichkeit. Wir finden unseren Charakter und unsere Persönlichkeit, wenn wir unsere Reaktion auf sie verstehen. Was sie auslöst. Es ist nicht unbedingt die Angst selbst, die uns menschlich macht, sondern das, was wir mit ihr machen oder was wir zulassen, dass sie mit uns macht. Was wir nicht wählen können und was wir können. Unsere Ängste sagen uns, wie wir menschlich sind. Jeder Song hängt an einer anderen Angst. Es geht darum, in den Abgrund zu blicken und dann zu sagen:
"Scheiß drauf... ich kann genauso gut noch einen trinken, bevor ich hineinfalle." Es gibt klangliche Überraschungen und verschiedene Perspektiven auf dem Album, aber wenn man die Band kennt, weiß man, dass sie es gemacht hat. Die es genossen haben, es zu machen. OK, einige der Themen können ein wenig düsterer werden, aber es gab Licht und Freude beim Zusammenstellen.
Das Album beginnt mit dem Track "Audacious" der als Vorabsingle den Ton für das Album angibt. Die zweite Single, die im November erscheinen wird, ist "Night Or Da"y, die sowohl in den Texten als auch in der Musik die Spannung zwischen Angst und Spaß darstellt. Das klangvolle Synthie-Stück "Hooked" zeigt eine andere Seite des Albums und wird unser Fokus-Track bei der Veröffentlichung sein. Das Album wird Mitte September zusammen mit einer Reihe von Live-Terminen in Großbritannien und Europa angekündigt und am 10. Januar 2025 veröffentlicht. Die Band wird außerdem im Oktober und November für Live-Shows nach Mexiko und Südamerika reisen.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

"Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool is the fourth solo studio album by former White Zombie frontman Rob Zombie. The album is a sequel to his debut album Hellbilly Deluxe and was released on February 2, 2010. This is the first album with bassist Piggy D and the last with drummer Tommy Clufetos.

Hellbilly Deluxe 2 is also the first release where Rob Zombie worked with his full touring band. Previous albums were written and recorded by Rob Zombie himself and a rotating set of musicians. The lead single ""What?"" debuted on radio stations on October 6. Rob Zombie enlisted the help of artists Dan Brereton (creator of Nocturnals), Alex Horley (of Image Comics and DC Comics) and David Hartman (storyboard artist) to create the album artwork. British dark/horror/science fiction/steampunk artist Sam Shearon aka 'Mister Sam Shearon' (artwork for Ministry, Slayer, Clive Barker, and tour merchandise for Iron Maiden) also contributed to the artwork of Hellbilly Deluxe 2.

Hellbilly Deluxe 2 is now available on black vinyl. It's housed in a gatefold and it comes with a 4 page booklet."

Acht Jahre nach dem riesigen Erfolg des ersten Teils kehrt Vaiana auf die Kinoleinwände zurück! In
”VAIANA 2” begleiten wir die selbstbewusste Heldin, den schelmischen Halbgott Maui und eine Crew
ungewöhnlicher Seeleute beim aufregendsten Wellenritt des Jahres!
Die Regie von ”VAIANA 2” wurde vom US-amerikanischen Regisseur und Storyboard-Künstler Dave Derrick
Jr. übernommen. Der Soundtrack zur musikalischen Untermalung des Films stammt unter anderem von
den Grammy-Gewinnerinnen Abigail Barlow und Emily Bear sowie dem dreifachen Grammy-Gewinner Mark
Mancina und umfasst 16 neue Songs.
Der Soundtrack von VAIANA hat seit der Veröffentlichung 2016 weltweit über 20 Milliarden Streams
erreicht und Hörer und Hörerinnen mit Songs wie „Voll gerne“ (engl.: „You’re Welcome“) sowie der PowerHymne „Ich bin bereit“ (engl.: „How Far I’ll Go“) verzaubert. „You’re Welcome“ von Dwayne Johnson,
der dem Halbgott Maui im Original seine Stimme leiht, wurde insgesamt sechsmal von RIAA® mit Platin
ausgezeichnet und ist mit über 1,6 Milliarden Views das meistgesehene Video auf DisneyMusic VEVO. In
Deutschland erreichte der Soundtrack mit über 180.000 verkauften Einheiten Goldstatus.

Whitey Morgan & The 78’s make it to the top shelf of Bloodshot’s bar. NPR may not be the first place you’d think to go for snarling, blood-on-the-tele country music, but they sure got it right when faced with Whitey Morgan & The 78’s: “Staying close to the sound and subject matter of classic outlaw artists like Waylon Jennings, Merle Haggard and David Allan Coe, Morgan is poised to lead this hard-worn brand of country to the next generation.” More than a decade after we let this record loose, millions of Yellowstone viewers heard “Bad News” as delivered by Whitey Morgan & The 78’s from this here album.

We suspect more than a few of those folks will be compelled to drink straight from the source and hear more of what they love. It’s also not a stretch to say the rest of country has caught up with what Whitey Morgan was puttin’ down in 2010. Anyone listening to Chris Stapleton and Jamey Johnson will find a familiar friend right here. As for us, we like to think of their Bloodshot debut as the birth of Altlaw Country and 15 years later it’s earned the Barrel Select designation as one of the best damn records we’ve got. As such, this new pressing is on Bloodshot-red vinyl and now includes a replica of the Whitey Morgan & The 78’s Holiday Whiskey Extravaganza gig at Chicago’s Cobra Lounge

Barreling straight into song after song, Boston Massachusetts outfit Superdown live each note like there is no tomorrow. Vocals move from gentle to guttural at a moment's notice. The music heightens and breaks into a driving force that feels like it is carrying you to shore through a violent sea. If Samiam and Hot Water Music had the sensibility of The Gaslight Anthem, the result would be Superdown.

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

Star Trek – „30th Anniversary Vol. 1“: Der Original Soundtrack auf Vinyl für alle Trekkies! Für alle Star Trek-Fans und Vinyl-Liebhaber gibt es jetzt ein ganz besonderes Highlight: Der „30th Anniversary Vol. 1“ Soundtrack entführt die Fans erneut in die unendlichen Weiten des Weltalls. Das besondere Vinyl-Release feiert die große musikalische Erbschaft, die Star Trek über Jahrzehnte hinweg mit seiner kraftvollen und atmosphärischen Musik begleitet hat. Auf „30th Anniversary Vol. 1“ finden sich einige der berühmtesten Tracks aus der ersten Serie, die das Gefühl von Abenteuer und Entdeckung im All perfekt transportieren. Das knisternde, warme Klangbild der Vinyl sorgt zudem für ein authentisches Retro-Erlebnis, das Fans der ersten Stunde genauso begeistern wird wie die neue Generation von Trekkies.

Moana 2 sailed into cinemas last weekend breaking box office records and becoming the highest-ever reported global animated opening weekend, taking the No 1 spot at the UK Box office and accounting for 45% of all ticket sales across the three-day weekend! Moana 2 had the 2nd highest opening weekend at the global box office in 2024 to date, behind only Deadpool & Wolverine & the 3rd biggest opening of 2024 in the UK & Ireland. This is the LP format that was sold in alongside CD to some accounts- so please do not double order- The soundtrack to Moana 2 features original songs by Abigail Barlow & Emily Bear, Opetaia Foa'i, and Mark Mancina

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Pink Vinyl

Drifting on oceans of thunderous stillness, carried away by endless currents, whipped up by waves of darkness devouring you until you see the light. The first album from Platoo, a collaboration between Michelle Samba and Phil Mills, has an unrelenting cadence that grabs you and refuses to let go. A distinctive combination of calming soundscapes and highly-charged energy fitting any occasion, from dancing like lost souls in the empty halls of ancient barracks to ecstatically tripping on a distant desert planet.

To Phil and Michelle creating Platoo was about being given a sense of freedom and exploration, at once shaking off habits and rediscovering forgotten values. Phil's love of the mesh of ''real'' sounds and electronics, and quest to establish a balance where both would feed off each other saw him abandon convention and standard structures, deviate from the beaten path and let things come to life. Michelle's quest to create, to inspire and be inspired, to draw her conclusions from serendipitous events allowed her to break things open and be at ease with letting herself go to create the breathing space needed for this new sound.

What makes their symbiosis fruitful is a common yearning for the unknown, a search for what works without exactly fathoming why it works. The result is something that indeed meets those needs, a strange and beautiful musical exploration.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

Ein weiterer außergewöhnlicher Release in der hochgelobten WaJazz-Reihe ist dem Leben und der Musik eines der berühmtesten japanischen Jazzmusiker der letzten 60+ Jahre gewidmet, dem legendären Saxophonisten Jiro Inagaki mit seiner Soul Media-Band und ihrer goldenen Ära 1968-1980. Diese ultimative Kollektion erscheint auf goldfarbigem 180g Doppelvinyl im Gatefold mit detaillierten Linernotes von Yusuke Ogawa (Universounds), Kommentaren von Jiro und exklusiven Fotos. 16 mal pures Gold aus Jazz, Jazz-Funk und Jazz-Rock, darunter eine unveröffentlichte Version des Tracks 'Express' – erstmals auf Vinyl!

After the incredible interest in the KOSMONAUCI debut album, we created a dedicated version for the Japanese market. "Japan Edition" has an insert translated into Japanese. The vinyl is black (180g). The label also has Japanese markings. Each record also has a special Japanese OBI.

U JAZZ ME is a boutique label rooted in U Know Me Records.

"Sorry, nie tu"is the debut album of the boys band KOSMONAUCI. The album consists of original compositions by the band members that were created over several years and evolved with the artists. The music of the Cosmonauts derives from jazz and improvisation, but over time the musicians have developed many new ways and possibilities to draw from many other, seemingly distant musical genres. Songs characterized by improvisation and rhythm of drum & bass or hip-hop are one of the characteristic features of the album "Sorry, nie tu". The music of the band KOSMONAUCI is stylistically extensive and at the same time very coherent, thanks to the combination of beautiful lyrical melodies with catchy and often surprising polyrhythms or bold improvisations. KOSMONAUCI have been playing together since high school, which can be heard very well in the chemistry of the whole band and the emotions flowing from the album. On March 21, 2024, the premiere of the debut album entitled "Sorry, nie tu" will take place. The album will be released by U Jazz Me, a sublabel of U Know Me Records. It will be the inaugural sublabel album.

KOSMONAUTS– a boys band originating from jazz traditions, which in its musical language draws onhip-hop,drum & bassandimprovisation. The instrumentarium, which includes saxophone (Miłosz Pieczonka), bass (Bartłomiej Lucjan), vibraphone (Tymon Kosma) and percussion (Jan Pieniążek), creates a unique style of the group, balancing between emotional melodies and polyrhythmic structures. The roots of the band's music go back to the jazz traditions of the 1950s to the 1990s. Their current sound, on the other hand, is much more varied by the search for ideas in genres such as hip-hop, drum & bass, alternative pop or the contemporary London Yass scene. KOSMONAUCI have been playing with each other since high school and have known each other since elementary school. They went to school together, to the concerts and grew up together in the field of music as well. The artists have classical and jazz education, which gives them a wide range of possibilities in the field of improvisation, performance and composition. Each of them has an individual style and different inspirations, which find a common denominator in the band, allowing them to create a unique style of playing and sound. Despite the fact that they have been active on the music scene in Poland and abroad since 2018. Their first album is released in 2024. Over the past few years, KOSMONAUCI have had the opportunity to perform at renowned jazz festivals, collaborate with renowned artists and learn from the best artists in Europe. The resultant of all these factors is the band's debut album "Sorry, nie tu", which will be released on the sublabel of the U Know Me label - U Jazz Me.

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

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

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

For ALT014, Altered Circuits presents its first Various Artists release. In addition to the label's co-founder, three friends of the label appear on this heterogeneous, club-oriented 12''. Portal, with its breakbeat layered drum section and spartan bass hook, sounds like classic Innershades from the start. When the angular leads and slowly phased, ominous chords hit, we are reminded of the artist's fondness for the new beat genre and his ability to translate its tropes and conventions to the present. On Show You Love, Mr. Ho combines skippy two-step drums with an MS20 type of flat bass. After introducing a one-bar mid-bass arpeggiator, gently swelling pads, leisurely spread side riffs and reverb-drenched musings join, calibrating the vibe to lush and groovy. On the other side, Oshana treats groove as the focal point with her Hey Kiss Kiss contribution. Over its 6-minute course, the snappy 909 kick rarely relents while a bunch of often short, many a time looped sequences emerge and disappear, unfolding a hypnotic tapestry of textures. Rising talent Salomee closes the VA with Late Night Summer, a track capable of setting the floor in motion at any moment. It revolves around a portamento-heavy, neon-tinged lead that lingers long after the track ends and a sturdy, efficient one-note bass pulse.

The EP delves into spooky-dooky electro that squelches along with broken soles, warm breaky-bombastic fun and angular electro haus that evokes mid 2000s fringe attitudes. All in all it is UK music at its very best, a melange of styles mashed together tightly under the pressure cooker environment of Britannia's broken promises. There's even a bonus remix from Klasse Wrecks' regular Omega III who takes the original track on a joyride along the M62 in his broken Vauxhall Astra.

Ltd Edition 12" press of this other-wordly remix, complete with 'version'. TIP!

A first Relaxin Records release by Dr. Pit, one half of the band Primitive Art. For Vista Mare version, Dr. Pit operates on Lolina's "Music Is The Drug”, taking it to a sinister cocktail bar terrace with an unexpected view.

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

Air Texture Vol. VI selected by Steffi and Martyn

The Air Texture Series asks two Producers/ Performers to select a double CD worth of unreleased music. The only guidance is the music should not be main floor bangers, other than that we get out of the way, allowing them autonomy over their selection. This time Steffi and Martyn were asked to step up. Exciting, since as residents at Berghain/Panorama Bar - two of the most important dancefloors in the world... how would two such respected artists approach our experimental ethos.

Limited to 500 copies

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Gloria Scott’s ‘What Am I Gonna Do’ is considered by many as one of the greatest soul records of all time. A masterpiece produced by Barry White, that oozes class, lush instrumentation and the remarkle vocal talent and emotive delivery of Ms Scott.

From the impecable opener ‘What Am I Gonna Do’ through to the Modern Soul scenes favourite, ‘(A Case Of) Too Much Love Makin’, nearly every cut on the LP is a classic.

An extremely rare LP since it’s release in 1974, with original copies changing hands for over £100. Now 50 years on it has been officially licenced & lovingly reissued by the Selector Series label and arguably an LP every Soul fan needs in their collection.

"Ebony Goddess" is the debut LP by Freeport, NY emcee Marcel Allen, released in April 2022. Entirely produced by Thelonious Martin and Jacob Rochester, this first offering by the Long Island native shows maturity and great lyricism, with Marcel Allen setting the bar real high for what's to come, and features guest appearances by Havoc of the infamous Mobb Deep as well as Detroit legend Boldy James. Now available as a very limited edition vinyl release of 200 copies!

Out of the murky, mystic world of Komodo Kolektif slides the Gamma Knife.

In the corner of a dank, dark mind, a nebulous notion condenses and solidifies, featureless and blind...and from that Komodo Klay a new kreature is hacked, molded and (mal)formed.

“The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively. The two Disciple of the Drum 'dubs' are essentially rhythm tracks using the rhythm and percussion of Disciple Of The Drone, also from 2019, stripping away the drone, the gamelan melody and finally, even the bass line, which was initially intended to be the fundamental driving force of at least one of these dubs. In the end neither of these two tracks became anything like the idea that I had in mind, but that's how creativity works sometimes. The vocal parts in Cantation Dub were added most recently, just a few months ago. Fire Dub is just an exercise in me trying to rein in some insane delays and barely managing. The Ghost of Water is an anomaly because many of the fundamental parts are taken from the same jam session recorded in 2015 that led to Djakarta 3001 from the first EP. If you listen closely you'll hear Graeme Miller on guitar (back when guitar was still featured in our weekly jam sessions). I discovered this unedited hour-long jam session on an older hard drive in late 2023 and decided to fashion something from it until what became Ghost of Water materialised: the heavily delayed saron instruments, the jaw harp, the percussion and so on. What makes the track an anomaly is that it is in some ways both the oldest and newest piece of the five. The Seventh Element takes one of the seven elements of The Seven Heavenly Elements (in this case the Mopho synth tuned to the Indonesian pelog scale and ran through the Boss DE-200's depth modulator) to which I then added some gong parts and field recordings from Bali.

Once complete, I realised with an album's worth of material sitting there which was more “Komodo Kolektif” than anything I would normally produce solo, there came the problem of trying to work out what to do with this distinctly Komodo-esque, non-Komodo material. I came up with the idea of releasing it under the name Komodo Kuts...but a part of me felt I'd be cashing in on the Komodo name so ditched that part entirely...but the kuts remained, which seemed appropriate when used alongside my Gamma Knife moniker (which has a long story of its own...in a nutshell I had a benign brain tumour which only 1 in 10,000 people get and which is most frequently removed with a gamma knife (radiation). In medical parlance the device used in this treatment is often shortened to GK machine. I had been using the DJ name GK Machine, which came from my signature GK Mackinnon, since 1994, in other words long before this diagnosis. In the end I had brain surgery in Spain without use of gamma radiation...but the synchronicity of the name connection fascinated me nevertheless. Sometimes the world works in mysterious ways).

Lastly, now that I've sent these tracks out into the world, I feel somewhat liberated and can move on from this fairly niche and specific sound. The gamelan instruments have been returned to Gamelan Naga Mas, from who we'd borrowed them, and the masks hung up. This does not mean that Graeme Miller and I won't work together again in future...I'm sure we will...it just means we won't be tied to working within the constraints of gamelan, synths, percussion and dub that we became known for. So stay tuned...surely something lurks around the corner” GKM, November 2024