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"Metalhorse" ist das dritte Studioalbum von Billy Nomates, nach dem von der Kritik hochgelobten "Cacti" von 2023 und ihrem selbstbetitelten Debüt von 2020. Ein Konzeptalbum, das sich um das Bild eines verfallenen Jahrmarkts dreht und für die Turbulenzen des Lebens steht - Risiko und Vergnügen, Gefahr und Rausch. Die 11 neuen Songs erkunden Blues, Folk und pianobetonte Arrangements, die Billy Nomates' starken Punk-Sound in eine pastoralere Richtung lenken. "Metalhorse" ist das erste Billy Nomates-Album, das in einem Studio und mit kompletter Band aufgenommen wurde. Zur Besetzung gehören die Bassistin Mandy Clarke (KT Tunstall, The Go! Team) und der Schlagzeuger Liam Chapman (Rozi Plain, BMX Bandits), dazu gab es einen speziellen Gastbeitrag von The Stranglers-Frontmann Hugh Cornwell zu dem Song "Dark Horse Friend". "Metalhorse" ist eine Balance der Extreme. Verlust, materielle Unsicherheit und der Versuch, sich selbst treu zu bleiben, vor dem Hintergrund eines zunehmend unvorhersehbaren globalen Chaos - die Waage hätte leicht in Richtung Dunkelheit kippen können, aber je mehr Tor Maries durchmachen musste, desto wertvoller wurden die kleinen Momente des Glücks. "Metalhorse" fordert den Hörer auf, seinen eigenen Rummelplatz zu finden; es wird immer Dinge geben, die sich gefährlich anfühlen. Gleichzeitig muss man die Lichter bestaunen, solange sie noch brennen. "Metalhorse" tanzt mit diesen Gefühlen von Ungewissheit und Freude und ist von Schmerz und Ausdauer durchdrungen.

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play.
’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."

Limited 2025 Repress
Black Truffle is pleased to announce the release of Ichida, the first release from the duo of two important yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O'Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O'Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo's Super Deluxe in March 2013, the set begins as a duet for Ishibashi's flute and Gray's upright bass. Calmly melodic yet harmonically inventive, with shades of 'spiritual jazz', the pair's acoustic ruminations are gradually joined by Ishibashi's lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray's bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of 70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O'Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible.

LEPER COLONY kreuzen den deutschen und schwedischen Death Metal Stil mit klassischen Einflüssen aus der US-Szene. Die Band entstand aus der langjährigen Freundschaft und der gemeinsamen Liebe zum Death Metal der alten Schule, die den deutschen Sänger Marc Grewe und den schwedischen Gitarristen Rogga Johansson dazu brachten, im Jahr 2020 ein gemeinsames Album zu produzieren. Das Duo holte sich CONSUMPTION-Schlagzeuger Jon Skäre und Lead-Gitarrist Kjetil Lyngahug (PAGANIZER) ins Boot, um das selbstbetitelte Debütalbum aufzunehmen, welches im Jahr 2023 veröffentlicht wurde. Das Werk wurde von Kritikern und Fans gleichermaßen positiv aufgenommen. Es wurde schnell klar, dass es sich bei LEPER COLONY keineswegs bloß um ein weiteres "Superprojekt" handelte, sondern dass eingefleischte Death Metal Fanatiker mit einer Vielzahl von frischen Ideen aufwarten. Marc Crewe hat sich als ehemaliger Frontmann von MORGOTH, und später mit INSIDIOUS DISEASE sowie ASINHELL einen klangvollen Namen in der Szene erworben. Gitarrist und Bassist Rogga Johansson prägte den schwedischen Death Metal in einer Reihe von Bands wie PAGANIZER, RIBSPREADER und REVOLTING entscheidend mit. WOMBBATH-Gitarrist Håkan Stuvemark übernahm mittlerweile die Leadgitarre und Jon Rudin wurde ebenfalls als neues Mitglied verpflichtet. Der britische Schlagzeuger ist unter anderem von MONSTROUS und DEAD SUN bekannt. Mit "Those of the Morbid" geben LEPER COLONOY allen Old School Death Metal Fans exakt das brutale und kompromisslose Album, auf das sie lange warten mussten!

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

Illusive Bristolian producer Claude Cooper returns with ‘Friendly Sounds Vol 1’; part psychedelic trip, part romping beat tape, part party. The album was inspired by the vinyl discoveries made from Cooper’s months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop. Cooper fed these myriad captured sounds through the studio and then, blurring the lines between sampling and performance, arranged and embellished them with keyboards, drum machines, bass guitar and more, also co-opting BEAK> bassist Billy Fuller and esteemed composer Ben Salisbury to contribute.

With most of the tracks in and out within 90 seconds, the album is best enjoyed as a continuous course. Play side A, play the B, then flip it back and listen all over again. Stand out moments include tremulous cut ‘n’ paste jam ‘Jackie’, the moody string-laden ‘Rainbow Eternity’, funky sitar workout ‘Nerd Nork’, and atmospheric closer ‘Take Flight’. Sharing a similarly broad and experimental sound palette as the likes The Avalanches, Madlib, The Go Team, and Edan; ‘Friendly Sounds Vol 1’ is the soundtrack to a wild joyride down South Bristol’s North Street, foot on the gas, hand on the horn, LPs spilling from the boot.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”. Called a "mysterious Bristol breaks scientist" by Lauren Laverne, BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Stuart Maconie, and Tom Ravenscroft have rinsed Cooper’s tracks, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.



‘Stay A While’, the first showing of Cooper’s new shop sampling stunners, was released on 7” in January ‘24. Lush string flourishes sliced with 6Ts girl-group vocals and rollicking piano chords resulted in a dreamy, end of night, lights up anthem in-the-making that The Arts Desk called “A horn-fired, beatsy, chop-around that recalls The Avalanches”. Releasing the album is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has released LPs by Alison Cotton, Floating World Pictures, Christian Madden & The Enemy Chorus, Nick Craft, as well as handling the War Child series of 7”s with BEAK>, Idles, J Dilla, PJ Harvey, Portishead, and Sleaford Mods + Hot Chip.



Claude Cooper will DJ at the one-day Friendly Festival on 10th May in aid of War Child, which will feature Sleaford Mods, Katy J Pearson, The 45s, Zalizo and DJ sets by Ishmael Ensemble, Heavenly Jukebox and Friendly Records DJs.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

With an eccentric, poetic line in minimal rock, London bass & drums duo Most Things release their debut album Bigtime 23/05/25 on tastemaker label So Young Records. Marrying the compassionate observational wit of Richard Dawson with a sound somewhere between Minutemen and Television Personalities, the album’s ten songs explore family relationships, mental health and life in the city. The project of London-born bassist/vocalist Tom Phillips and New York-born drummer Malachy O’Neill, the pair met as students in London after being introduced by Phillips’ then housemate Sabrina Fuentes – singer in acclaimed punk band Pretty Sick. Bigtime is a London album. Chronicling Phillips’ experiences growing up in the city, as the only child to his single mother, it illustrates its shops, pubs and bustle with humour and warmth, but also considers its troubles: from violence to threadbare public services.

When famed Dub producer/engineer/remixer Mad Professor combines with legendary bassist/artist/producer Youth the results are,
as you would expect, amazing. Two scintillating slices of dub on a limited edition 'dinked' 7".

Eine faszinierende neue Sammlung von nie zuvor gehörten Auftritten des legendären Altsaxophonisten Art Pepper, »An Afternoon in Norway: The Kongsberg Concert«, erscheint als luxuriöses 180-Gramm-Zwei-LP-Set bei Elemental Music.

Dieser bemerkenswerte Archivfund wurde von dem preisgekrönten »Jazz Detective« Zev Feldman in Zusammenarbeit mit Laurie Pepper und dem Art Pepper Estate produziert.

Feldman sagt: »Art Pepper ist eine der am meisten verehrten Persönlichkeiten der Jazzgeschichte, und seine Musik inspiriert nach wie vor Zuhörer auf der ganzen Welt. Diese bisher unveröffentlichten Aufnahmen fügen seinem Vermächtnis ein weiteres Kapitel hinzu. Wir legen großen Wert darauf, Peppers Werk auf bestmögliche Weise zu präsentieren, um sicherzustellen, dass diese Pakete den Fans über Jahre hinweg Freude bereiten werden.«

Sowohl die LP- als auch die CD-Ausgabe des Pakets enthalten einen Essay des renommierten Jazz-Experten Marc Myers, exklusive Kommentare von Laurie Pepper, Tony Dumas, Carl Burnett und den Saxophonisten John Zorn und Rudresh Mahanthappa sowie seltene Fotos vom Konzert. An Afternoon in Norway enthält Aufnahmen von Art Peppers denkwürdigem Auftritt beim Kongsberg Jazz Festival in Norwegen aus dem Jahr 1980. Aufgenommen im Kongsberg Kino mit seinem herausragenden Quartett - dem Pianisten Milcho Leviev, dem Bassisten Tony Dumas und dem Schlagzeuger Carl Burnett - liefert Art Pepper eine kraftvolle und ausdrucksstarke Darbietung, erfüllt von der Leidenschaft und Brillanz, die seine Karriere ausmachte.



[a] Y.i. blues [aka untitled #34]

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

Das vierte Album der US-Amerikanischen Post-Hardcore-Supergroup aus Gitarrist Mark Engles (Dredg), Drummer Chris Robyn (Far) und Sänger & Gitarrist Ben Flanagan (The Trophy Fire).

Anfang 2024 zogen sich Black Map nach Südkalifornien zurück, um 'Hex' mit Saosin-Gitarrist Beau Burchell als Produzent aufzunehmen. Die Band verfolgte eine klare, kollektive Vision, die sich von der weitläufigen, ätherischen Natur von 'Melodoria' zu einem dringlicheren und direkteren Sound entwickelte.

Sänger/Bassist Ben Flanagan beschreibt 'Hex' als ein Werk mit einem starken „let's f*cking go“-Geist, während Gitarrist Mark Engles die Balance zwischen atmosphärischen Elementen und treibender Intensität hervorhebt. Das Album fängt den unverkennbaren Stil der Band ein, mit Marks markanter Gitarrenarbeit, die stets präsent ist, und einem erneuten Fokus auf Unmittelbarkeit und roher Energie.

Für Ben steht 'Hex' für die tiefgreifende Wirkung von Musik, die Trost und Verbindung bietet. Schlagzeuger Chris Robyn fügt hinzu, dass das Album einen unaufhaltsamen Schwung hat, der mit Kraft und Absicht nach vorne drängt. Verwurzelt in Themen wie persönlicher Kampf, Authentizität und Widerstandsfähigkeit, ist 'Hex' die bisher kraftvollste und eindringlichste Veröffentlichung von Black Map.

Ltd edition Sine TEAL Vinyl, DL card with Bonus Tracks. Vanishing Twin's seminal LP, The Age Of Immunology, receives a LTD edition re-pressing, this version is sine teal vinyl with matching sleeve colour. As essential take on psych-pop futurism and a must for fans of Broadcast, Sun Ra and Ennio Morricone. Establishing the band as innovators in their field, the record was declared "a masterpiece" by The Line Of Best Fit, while The Quietus asserted Vanishing Twin as "one of the most original and exciting acts of the moment". This was the group's first LP for Fire Records, at the time of recording the band's evolving lineup consisted of songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio and was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk. The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Planete Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury.

"Falling For You" ist eine massive neue 2025er Soulnummer der aufstrebenden Soulsängerin Windy Karigianes aus Las Vegas. Der Song wurde von Soul-Veteran Randy Hall komponiert und u.a. mit dem Teena Marie-Bassisten Allen McGrier aufgenommen. Da Windy ein Teena Marie-Fan mit ähnlicher Stimme ist, sprang Georgie B ein und schuf mit seiner Version sowohl eine Hommage als auch einen frischen modernen Soul-Groove. Ein Original jenseits der Nostalgie und ein Mix, der derzeit die britischen Soul-Charts anführt - beide zusammen auf einer 7".

Following the hyperactive “Blood Karaoke” (2022, Reading Group), “Performing Belief” builds rhythmic thickets from gathered sounds interwoven with synths, drum machines and other samples. Having built these rhythmic nests, Krivchenia then called on two contemporary mages of the low end: electric bassist and fellow Angeleno Sam Wilkes (Wilkes/Gendel) and double bassist/multi-instrumentalist from Krivchenia’s native Chicago, Joshua Abrams (Natural Information Society). Wilkes and Abrams bring the presence of a grounding human witness to the rhythmic undergrowth, providing a centering and even at times melodic voice to the gathering. This alchemy carries a profoundly fresh sense of time, blurring the edges of the quantized grid and the generic boundaries of electronic music.

The core of the album is a lush, opulent matrix of percussion ranging from the familiar—hand claps and drum machines—to the mysteriously verdant, sampled largely from Krivchenia’s own performed field recorded collection. For years, he would record any and all of his musical encounters with natural objects: performing on a particularly resonant log on a hike, throwing rocks into a pristine pond, tap dancing in the mud. This archive of “natural” sounds became the fertile soil out of which the tracks on “Performing Belief” grew. What is gained in the process is not just a novel set of sounds, but a new rhythmic language. The particular give, the anticipatory rustle, the extra breath of a hollow log when functioning as a kickdrum provides a greenness that overtakes the rhythmic grid, giving this music a peculiar kind of stickiness. This rhythmic language, set in Krivchenia’s long-fermenting electronic musical palate, feels like a revelation, even while it calls back not only to his wonderfully elastic timekeeping behind the kit with his beloved band Big Thief, but also to his prior work in computer music as well as his deep study and love of the vast human archive of drumming. “Performing Belief” is in good company in the rank and file of the legendary Planet Mu label. From the foundational early releases of the likes of Jega and Venetian Snares, to the contemporary envelope-warping work of Jlin and hundreds of brilliant releases in between, Planet Mu has been a beacon of forward-thinking rhythmic music for decades, informing Krivchenia’s own sense of the weird metaphysics of musical time since he was a kid. Krivchenia’s contribution to this history calls to mind the principle of organic danceability that subtends Mu’s whole catalogue, while bending our sense of rhythm in new and gracious dimensions. Krivchenia brings out the loamy complexity of natural rhythms, a clearing as generous as it is inviting. Let the drummer give you some.

ENG Mamalarky thrive in the in-between, a tri-coastal outfit straddling Atlanta, Austin, and Los Angeles, crafting a sound that feels both meticulously constructed and effortlessly unspooled. Their brand of indie rock is delightfully askew-swirling psych flourishes meet wiry guitar tangents, all anchored by tender, off-kilter hooks that burrow deep. It"s music that invites you into its strange little universe, full of inside jokes and late-night musings turned into melodic gold. Their sophomore effort, Hex Key - marking their Epitaph Records debut-lands in April, with plenty of mileage ahead as they road-test new material. A spring tour includes a run with Hinds and a stop at Treefort Music Fest, where their shape-shifting sonics will no doubt translate into hypnotic, full-bodied chaos. Formed in Austin in 2016, Mamalarky"s lineup has since scattered across time zones, but their chemistry remains unmistakable. Guitarist Livvy Bennett (formerly of Cherry Glazerr), keyboardist Michael Hunter (White Denim), drummer Dylan Hill, and bassist Noor Khan (Faye Webster"s touring bassist) operate like a band that"s spent years finishing each other"s musical sentences. Their songwriting thrives on kinetic interplay-nimble and restless, yet always landing in some deeply satisfying pocket. While indie-pop might be the easiest tag to slap on them, Mamalarky dodge the genre"s more predictable trappings. Instead of settling into breezy melancholy, they embrace complexity-knotty time signatures, rubbery basslines, and melodies that feel like they"re winking at you. It"s heady but never pretentious, the kind of music that rewards repeat listens, each spin revealing a new hidden corner.

Cat-O-Log Records setzt in Zusammenarbeit mit Universal Music Enterprises die Feier des 50-jährigen Jubiläum des klassischen Live-Albums von Cat Stevens, ”Saturnight” (Cat Stevens Live In Tokyo), fort.

Ursprünglich wurde das Album von A&M Records nur in Japan veröffentlicht. Jetzt ist das Live-Album in brandneuen Fromaten erhältlich. Die schwarze LP sowie die The Circle Store exklusive ”Lava Splatter” LP erscheinen in einer Klapphülle, die Texte und neue Notizen von Hallam Kite, Tourmanager Carl Miller und Bassist Bruce Lynch enthält. ”Saturnight” ist auch zum ersten Mal auf CD erhältlich, inklusive einem 16- seitigen Booklet, mit den Anmerkungen von Hallam Kite, Tourmanager Carl Miller und Bassist Bruce Lynch.

”Saturnight” wurde am 22. Juni 1974 im Nakano Sun Plaza in Tokio aufgenommen, auf der japanischen Etappe der Bamboozle Tour und war Cat Stevens’ erstes Live-Album.

Das Album "The Scholars" spielt auf dem fiktiven Campus der Parnassus Universität. Die Songs des Albums erzählen von Studierenden und Dozierenden sowie deren Erlebnissen als lose Erzählung über Leben, Tod und Wiedergeburt. Die erste Single "Gethsemane" gibt einen Vorgeschmack auf die spirituelle Reise, die das komplette Album prägt. Im Mai 2020 veröffentlichten Car Seat Headrest (Sänger Will Toledo, Gitarrist Ethan Ives, Schlagzeuger Andrew Katz und Bassist Seth Dalby) ihr experimentelles, beatlastiges Album "Making a Door Less Open" - just in dem Moment, als die Welt zum Stillstand kam. Die darauffolgende Phase der erzwungenen Pause zog sich über Jahre. Als sie 2022 endlich wieder auf Tour gehen konnten, waren sie überrascht und erfreut, dass ihr Publikum jünger war als je zuvor. Dank des unerwarteten viralen Erfolgs von "It"s Only Sex" und "Sober to Death" hatte eine neue Generation ihre Coming-of-Age-Klassiker "Teens of Denial" und "Twin Fantasy" für sich entdeckt. "The Scholars" wurde von Toledo produziert und größtenteils analog aufgenommen. Für die Lyrics und die erzählerische Struktur ließ sich Toledo durch Klassiker inspirieren - von Shakespeare über Mozart bis hin zu Opernmusik. Musikalisch orientiert sich "The Scholars" behutsam an großen Rock-Opern und Konzeptalben wie "Tommy" von The Who oder "Ziggy Stardust" von David Bowie. Die erste Albumhälfte dreht sich um Studierende und ihre spirituellen und persönlichen Krisen, während die zweite Hälfte von einer epischen Auseinandersetzung zwischen Tradition und Aufbruch handelt. "Ein Problem vieler Rock-Opern ist, dass die einzelnen Songs der Story untergeordnet werden und dadurch weniger für sich stehen", sagt Toledo. "Ich wollte einen Mittelweg finden, bei dem jeder Song als eigenständiger Charakter funktioniert - als würde er auf die Bühne treten und seinen großen Moment haben." Auf Sound lag diesmal ein besonderer Fokus. Ethan Ives übernahm eine aktivere Rolle in der Soundgestaltung, was zu einer dichten, vielschichtigen Produktion führte. Neben Stücken wie dem 19-minütigen "Planet Desperation" enthält das Album auch eingängige Songs wie "The Catastrophe (Good Luck With That Man)", das an den Folk-Pop der 60er Jahre erinnert. Car Seat Headrest sehen in "The Scholars" eine neue Ära ihrer Bandgeschichte, die weit über die Anfänge des ehemaligen Soloprojekts hinausgewachsen ist. Das Album erscheint als CD und auf Vinyl als Doppel-LP mit 28-seitigem Booklet.

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Ltd. Fruit Punch Vinyl. Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.

Helsinki tenor saxophonist Jussi Kannaste's debut album as a band leader has been a long time coming. A top musician in the local scene revered by his contemporaries and sought after as a band member, Kannaste now presents his new work Out Of Self and Into Others on We Jazz Records. His quartet, Kannaste4, brings together Finnish musicians Tomi Nikku (of Bowman Trio) and Joonas Riippa, plus Berlin-based Swedish bassist Petter Eldh (of Koma Saxo / Post Koma and Y-OTIS), and features an all original program penned by Kannaste. His music is highly personal contemporary jazz leaning into modes of avantgarde expression. At times quiet as a whisper, at times fiery and swinging, Out Of Self and Into Others is a product of a deep marinade, a debut album that feels like much more than "just" that.

Jussi Kannaste (born 1976) is a saxophonist and educator based in Helsinki. Prior to launching Kannaste4, he has been a key part of the scene for 20+ years, performing in highly acclaimed bands such as Antti Lötjönen Quintet East, 3TM, Jaska Lukkarinen Trio, Ricky-Tick Big Band, and many more. As the head of the department of Jazz at Sibelius Academy, Kannaste is also a key figure in internationally admired Finnish jazz education system.

Mit einem Dutzend wilder und gefeierter Alben seit Daemon Qui Fecit Terram (1996) praesentiert Hate mit dem dreizehnten Album Bellum Regiis ein noch kuehneres und aggressiveres Klangbild als je zuvor. Die neun Songs von Bellum Regiis zeigen, wie Saenger und Gitarrist ATF Sinner, Gitarrist Domin, Schlagzeuger Nar-Sil und Bassist Tiermes einen modernen Sound mit unheimlicher Atmosphaere und Tiefe formen. Produziert wurde das Album von David Castillo (Candlemass, Carcass, Dark Tranquility, Katatonia) in den Grondahl Studios in Stockholm. Textlich ist Bellum Regiis ein persoenlicheres, mehr auf die Menschheit fokussiertes Album als Rugia. Die Songs, so Gruendungsmitglied Sinner, sind eine aktuelle klangliche und visuelle Auseinandersetzung mit dem "Kampf um Macht und allem, was damit einhergeht."Hate, gegruendet 1990 in Warschau, wird als "Inbegriff von Konstanz" gefeiert und als "glatte und praezise Death-Metal-Maschine" gelobt. Seit dem 2017er Album Tremendum hat sich die Band thematisch auf die Natur und ihre Mysterien konzentriert. Wie Sinner erklaert: "Egal ob die Natur in uns, um uns herum oder aus der Ferne betrachtet - die daraus gewonnenen Perspektiven und ihre Verbindung zu verschiedenen uebergeordneten Themen haben jedes Album gepraegt." So behandelte etwa Auric Gates of Veles (2019) den Tod - insbesondere die slawische Sichtweise darauf. Sechs Jahre spaeter widmet sich Bellum Regiis der Menschheit selbst und der Frage, warum wir als Wesen so tief durch Konzepte wie Macht, Reichtum, Ruhm und Glauben motiviert sind. Das zentrale Thema ist der Kampf um Macht und alles, was damit verbunden ist.Daher auch der Albumtitel Bellum Regiis, was uebersetzt "Krieg der Koenige" oder "Koeniglicher Krieg" bedeutet. Sinner stellt sich die grossen Fragen rund um Macht - macht uns deren Erreichung abartig oder sind wir es von Natur aus? Der Titelsong bildet das Leitmotiv des Albums. "Als Song besitzt Bellum Regiis sowohl eine tiefe Melancholie als auch eine gewisse Erhabenheit", sagt Sinner. "Der Gesang von Eliza Sacharczuk (eine bekannte Saengerin und Gesangslehrerin, die ein ganzheitliches Kunstzentrum in Bialystok leitet) verleiht dem Lied ein starkes Zeitgefuehl. Ob das nun Nostalgie, Rueckblick, Reue oder Vorbereitung auf die Zukunft ist, liegt im Auge des Betrachters. Diese Kriege, diese Kaempfe gibt es seit Anbeginn unserer Existenz", erklaert der Frontmann. "Ob sie sinnlos sind oder nicht, sie sind Narben auf unserer eigenen Natur."Verkaufsargumente/Treiber (Karriere-Highlights/Fakten/Marketing-Infos):- HATE ist seit mehr als 25 Jahren eine feste Groesse im slawischen Black/Death Metal- Bellum Regiis wurde von David Castillo (Candlemass, Carcass, Dark Tranquility, Katatonia) in den Grondahl Studios in Stockholm produziert- HATE haben mehrfach durch Europa, Nordamerika, Asien und Australien getourt und auf zahlreichen Metal-Festivals weltweit gespielt- Nordamerika-Tour im Fruehjahr 2025 bestaetigt - als direkter Support von Belphegor; weitere US-Tour fuer 2026 geplant- Europatour mit Venom Inc. fuer 2025 bestaetigt; zusaetzliche Europatour in Planung fuer 2026- Tour durch Lateinamerika fuer Oktober 2025 bestaetigt- Hochwertiges Musikvideo zur ersten Single "Iphigenia" verfuegbar- Erhaeltlich auf allen digitalen Plattformen

Wie kann es sein, dass das 1969er Album „Off Centre“ als eines der gesuchtesten britischen Jazz-Alben gilt und nur für größere Summen den Besitzer wechselt, obwohl Frontman John Cameron kein namhafter Jazzmusiker ist?

Ganz einfach: Cameron ist einer der erfolgreichsten und vielseitigsten britischen Studiokünstler, hat Hits für Pop-Stars wie Donovan, Cilla Black und Hot Chocolate arrangiert und Musiken für bekannte Filme und TV-Serien komponiert. Tief im Herzen muss Cameron allerdings ein Jazzmusiker sein, das beweist sein Quartettalbum als Pianist zusammen mit Bassist Danny Thompson (Nick Drake, Kate Bush, Peter Gabriel), Saxofonist & Flötist Harold McNair (Quincy Jones, Blossom Dearie, Ginger Baker) und Drummer Tony Carr (Bryan Ferry, Joan Armatrading, Wings).

Das dynamisch swingende, groovende Album erlebt jetzt seine erste Vinyl-Wiederveröffentlichung, remastert in den Abbey Road Studios von den Original-Analogbändern. Eine großformatige Beilage präsentiert ein ausführliches neues Interview mit John Cameron.

Their 1990 debut, the first time on vinyl since the 1992 Big Cat reissue. Remastered.

Limited edition in blue vinyl for RSD2025.

The New York noise band with two bassists who later signed to Interscope.
After their split in 1996, main man Tod A formed Firewater, who released seven albums.

Durch einen glücklichen Zufall zusammengebracht, durch ein gemeinsames lebenslanges Engagement für die Musik verbunden und durch ein frisches Feuer beflügelt, schaffen Paradise Slaves hypnotisch schwere Rockhymnen voller Atmosphäre und Emotionen. Das Quartett aus Boston und Anchorage ist eine unheimliche Verbindung zwischen dem Stimmgewaltigen Brock Lindow (36 Crazyfists), dem Solokünstler und Gitarristen Tyler Stroetzel, dem Gitarristen Jon Kita (Diecast), dem Bassisten Brad Horion (Diecast) und dem Schlagzeuger Ryan Manning (Blitzkid, Pentagram).

„Für mich besteht das Gesamtkonzept von With Hell In His Eyes darin, niemals zu kapitulieren, weiter zu kämpfen und weiterhin dankbar für das Leben zu sein“, sagt er. „Das waren meine Gedanken. Ich bin ein 49-jähriger Mann, der eine Menge erlebt und gelernt hat. Keiner ist perfekt. Zu dieser Erkenntnis zu kommen und zu versuchen, jeden Tag besser zu werden, ist definitiv ein Ziel.“

Letztendlich sind Paradise Slaves ihrem Schicksal genau dorthin gefolgt, wo sie hingehören.

Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.

Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.

A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.

Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Steeped in Caribbean flavor and seasoned with a fistful of hand-percussion, "Yamar" was initially sidelined from 2009's Cult Cargo: Grand Bahama Goombay for feeling less like cargo than an authentic piece of pan-Americana. Phish fans may recognize this previously unattainable A-side as it as been a staple in their setlists since the late '80s, imported by bassist Mike Gordon who heard the Mustangs performing it in a Bahamian hotel. Backed with the sweltering "Words To My Song," this doubler-sider is a must for any sea side or pool side DJ.

This re-issue of World Machine, Level 42's 1985 breakthrough album, is presented with scrupulous attention to the detail of the original UK first pressings and available in audiophile 180g pink vinyl in celebration of the album's 40th anniversary.

By 1985, Level 42 – bassist and vocalist Mark King, keyboard player/vocalist Mike Lindup, guitarist Boon Gould, drummer/lyricist Phil Gould and studio-only keyboard player Wally Badarou – were on the verge of breaking big - After a string of well-received albums, such as their pioneering jazz-funk 1981 debut or the Ken-Scott produced True Colours, the group decided, rather than work up material through jamming, to sit and write some songs for their forthcoming album.

Producing themselves, with assistance from engineer Julian Mendelsohn, this new approach meant that World Machine was the quantum commercial leap they craved. And most of that was due to the album's towering lead single, the pop-funk of "Something About You". With its expensive video seeing the group styled for the 80s, it set radio alight, becoming a Top 10 hit and charting around the world, importantly in the US. Following up with the tender ballad "Leaving Me Now" and then the bouncy funk of the album's title track as singles, the album's success was guaranteed; it reached No 3 in the UK charts and spent an amazing 72 weeks on the listings.

Seit mehr als zwei Jahrzehnten ist CALIBAN eine der prägenden Kräfte im Metalcore. Mit ihrem kommenden Album "Back From Hell" entwickelt die deutsche Band ihren Sound weiter und bleibt dabei der Intensität und Emotion treu, die ihre Karriere definiert haben. Angeführt von den Gründungsmitgliedern Andreas Dörner (Gesang) und Marc Görtz (Gitarre), umfasst das aktuelle Lineup der Band zusätzlich den neuen Bassisten Iain Duncan, der mit seinen cleanen Vocals eine neue Dimension in die facet-tenreiche Dynamik der Band bringt.Nach dem Erfolg der letzten Singles - "I Was a Happy Kid Once", "Echoes" und "Guilt Trip feat. Mental Cruelty" - veröffentlichen CALIBAN ihr bisher ambitioniertestes Werk. "Back from Hell" erforscht Themen wie innere Kämpfe, Resilienz und Katharsis und verbindet ihre charakteristischen, krachenden Riffs und den gutturalen Gesang mit atmosphärischen Melodien und einer moder-nen Produktion.Im Laufe der Jahre haben sich CALIBAN ihren Platz unter den Metalcore-Legenden erarbeitet, mit unzähligen Tourneen, Festi-valauftritten und einer Diskografie, welche Genregrenze immer wieder aufs Neue definiert. Im Jahr 2024 und darüber hinaus wird die Band mit "Back From Hell" auf Tour gehen und ihren Ruf als einer der elektrisierendsten Live-Acts der Heavy Music unter-mauern. CALIBAN sind stärker als je zuvor!"Back From Hell" ist erhältlich als: Ltd. CD Digipak & Branded Air Freshener, LP, Digital Album.

Zum 20. Jubiläum ihrer Trennung erscheint das Debütalbum der japanischen Noise-Punks Kokeshidoll erstmals auf Vinyl. Die Band wurde im Jahr 2000 mit dem Ziel gegründet, den Hardcore-Sound des japanischen Punk der 1980er wiederzubeleben, was ihr mit "Kokeshism" (2003) prächtig gelang - das Album wurde zum Klassiker des japanischen Hardcore-Punk. Kokeshidoll, bekannt für ihre ausgelassenen, betrunkenen Bühnenpossen, häufig nackt und halb handlungsunfähig, trennten sich 2004 kurz nach einem berüchtigten Auftritt mit der legendären Japanoise-Band Hijokaidan, bei dem sich Bassist Kyoki auf der Bühne übergab und Sänger Inundow Schweineköpfe in die Menge warf. Limitierte Japan-Pressung mit Obi-Strip.

Teaser Sweet aus Schweden haben in ihrer heimischen Szene bereits gehörig Staub aufgewirbelt. Der Startschuss fiel ursprünglich im Jahre 2013, als Marcus Damberg seine Schwester Therese und den damaligen Bassisten Christoffer Cardell fragte: "Wollen wir nicht eine Band gründen?" Die ursprüngliche Besetzung wurde von Kalle Krantz am Schlagzeug komplettiert. Anfänglich spielte man noch Songs von Kiss nach, ehe sukzessive eigenes Material entstand. Nach dem ersten Demo wagte man sich auf die Bühne und spielte in der Folge drei Alben sowie eine EP ein: "Hit And Run" (2015), "In The Night" (EP, 2017), "Hypnotized" (2018) und "Monster" (2020). Für das neue Album "Night Stalker" haben Teaser Sweet nunmehr einen Vertrag bei High Roller Records unterzeichnet. In Therese Damberg besitzen die Schweden eine Sängerin, deren Stimme an eine Kreuzung aus Acids Kate, Leather Leone und Johanna von Lucifer erinnert.

Teaser Sweet setzen die lange Tradition von schwedischen Bands mit weiblicher Beteiligung fort, angefangen mit Crucified Barbara, über Slingblade und Thundermother, bis hin zu The Gems. Therese Damberg gibt allerdings zu bedenken: "Ganz bestimmt haben ABBA mit dazu beigetragen, dass schwedische Frauen das Selbstbewusstsein besitzen, Musik zu machen. Für mich ist es jedoch selbstverständlich, dass es im Hardrock Sängerinnen gibt - es existieren ja auch genügend Bands, die nur aus Männern bestehen. Ich sehe da jedenfalls keinen Unterschied."
Musikalisch zeigen sich Teaser Sweet von Judas Priest, Black Sabbath, Dio und den späten Europe inspiriert. Mit seiner galoppierenden Bassarbeit erinnert ein Song wie "Deep In The Woods" zudem an Iron Maiden.

Teaser Sweet aus Schweden haben in ihrer heimischen Szene bereits gehörig Staub aufgewirbelt. Der Startschuss fiel ursprünglich im Jahre 2013, als Marcus Damberg seine Schwester Therese und den damaligen Bassisten Christoffer Cardell fragte: "Wollen wir nicht eine Band gründen?" Die ursprüngliche Besetzung wurde von Kalle Krantz am Schlagzeug komplettiert. Anfänglich spielte man noch Songs von Kiss nach, ehe sukzessive eigenes Material entstand. Nach dem ersten Demo wagte man sich auf die Bühne und spielte in der Folge drei Alben sowie eine EP ein: "Hit And Run" (2015), "In The Night" (EP, 2017), "Hypnotized" (2018) und "Monster" (2020). Für das neue Album "Night Stalker" haben Teaser Sweet nunmehr einen Vertrag bei High Roller Records unterzeichnet. In Therese Damberg besitzen die Schweden eine Sängerin, deren Stimme an eine Kreuzung aus Acids Kate, Leather Leone und Johanna von Lucifer erinnert.

Teaser Sweet setzen die lange Tradition von schwedischen Bands mit weiblicher Beteiligung fort, angefangen mit Crucified Barbara, über Slingblade und Thundermother, bis hin zu The Gems. Therese Damberg gibt allerdings zu bedenken: "Ganz bestimmt haben ABBA mit dazu beigetragen, dass schwedische Frauen das Selbstbewusstsein besitzen, Musik zu machen. Für mich ist es jedoch selbstverständlich, dass es im Hardrock Sängerinnen gibt - es existieren ja auch genügend Bands, die nur aus Männern bestehen. Ich sehe da jedenfalls keinen Unterschied."
Musikalisch zeigen sich Teaser Sweet von Judas Priest, Black Sabbath, Dio und den späten Europe inspiriert. Mit seiner galoppierenden Bassarbeit erinnert ein Song wie "Deep In The Woods" zudem an Iron Maiden.

Mit verschiedenen Ensembles wie seinem World Saxophone Quartet hat US-Saxofonist David Murray Jazz
und Avantgarde zusammengebracht und das Genre über Jahrzehnte hinweg immer wieder maßgeblich
geprägt. Letztes Jahr hat er mit Pianistin Marta Sanchez, Bassist Luke Stewart und Schlagzeuger Russell Carter ein neues Quartett gegründet und einen Vertrag mit dem legendären Coltrane-Label Impulse!
Records abgeschlossen.
Für sein dortiges Label-Debüt hat er sich von Musik inspirieren lassen, die älter als die Menschheit ist:
dem Vogelgesang. “Birdly Serenade” ist Teil des Grammy-ausgezeichneten “Birdsong Project”, sechs der
acht Originale komponierte Murray in einem Künstler-Retreat in den Adirondack Mountains, inmitten
von Seen, Wäldern und endlosem Himmel. Am Anfang des Schreibprozesses standen drei Gedichte von
Francesca Cinelli, die auf dem Album auch mit einer Spoken-Word-Performance zu hören ist. Weiterer
Gaststar ist Sängerin Ekep Nkwelle.
Wer zartes Flötenspiel und “Jazz-Gezwitscher” erwartet, den wird der kraftvolle Saxofon-Sound des im
berühmten Van Gelder Studio aufgenommenen Albums eines Besseren belehen.

Comes in deluxe gatefold sleeve with exclusive artwork and double sided printed insert. Remastered from the original master tapes. The most comprehensive vinyl edition of Catalyse to date, featuring additional improvisations that were omitted from the album's original 1970 pressing. Sounding better than ever, rediscover the album that started it all for French psychedelic rock.

The highly sought-after 1970 debut album Catalyse by Ame Son, widely regarded as the first French psychedelic rock album, is finally being reissued. This milestone release by France's pioneering psychedelia band, founded by drummer/vocalist Marc Blanc and bassist Patrick Fontaine-both from the Banana Moon lineup, bridging Soft Machine & Gong-has been restored and remastered from the original master tapes. It includes additional archive material, presenting the Catalyse album in its entirety on vinyl for the first time. Originally released by the avant-garde label BYG Records, Catalyse embodies the vibrant and experimental energy of France's burgeoning underground scene in the early 70s. The album fuses English psychedelic influences with French poetry, free jazz, and experimental freak-outs. "The concept was to create pieces composed of multiple parts, forming an ever-evolving ensemble with shifting ambiences and improvisations. We wanted to blend French poetry with the free-spirited creativity of English psychedelic rock" explained Marc Blanc in an exclusive interview featured in the new liner notes of this reissue. This unique vision gave birth to an album that remains as groundbreaking and captivating today as it was at its original release. Out of print for decades, the Catalyse LP has become a rare and highly coveted gem among collectors and fans of psychedelic rock.

Seit mehr als zwei Jahrzehnten ist CALIBAN eine der prägenden Kräfte im Metalcore. Mit ihrem kommenden Album "Back From Hell" entwickelt die deutsche Band ihren Sound weiter und bleibt dabei der Intensität und Emotion treu, die ihre Karriere definiert haben. Angeführt von den Gründungsmitgliedern Andreas Dörner (Gesang) und Marc Görtz (Gitarre), umfasst das aktuelle Lineup der Band zusätzlich den neuen Bassisten Iain Duncan, der mit seinen cleanen Vocals eine neue Dimension in die facet-tenreiche Dynamik der Band bringt.Nach dem Erfolg der letzten Singles - "I Was a Happy Kid Once", "Echoes" und "Guilt Trip feat. Mental Cruelty" - veröffentlichen CALIBAN ihr bisher ambitioniertestes Werk. "Back from Hell" erforscht Themen wie innere Kämpfe, Resilienz und Katharsis und verbindet ihre charakteristischen, krachenden Riffs und den gutturalen Gesang mit atmosphärischen Melodien und einer moder-nen Produktion.Im Laufe der Jahre haben sich CALIBAN ihren Platz unter den Metalcore-Legenden erarbeitet, mit unzähligen Tourneen, Festi-valauftritten und einer Diskografie, welche Genregrenze immer wieder aufs Neue definiert. Im Jahr 2024 und darüber hinaus wird die Band mit "Back From Hell" auf Tour gehen und ihren Ruf als einer der elektrisierendsten Live-Acts der Heavy Music unter-mauern. CALIBAN sind stärker als je zuvor!"Back From Hell" ist erhältlich als: Ltd. CD Digipak & Branded Air Freshener, LP, Digital Album.