Buscar:be 2

Foreigner ist die fünfte LP von Cat Stevens’ bei Island Records und repräsentiert die abenteuerliche,
risikofreudige Ader seines Charakters. In Abkehr von seinem weitgehend akustischen Sound entdeckte
Cat auf dem Album seine Liebe zu R&B- und Soul-Musik, wie auf der Hauptsingle des Albums, ”The
Hurt”, zu hören ist. Foreigner wurde größtenteils in Jamaika mit einer All-Star-Band aufgenommen und
ist das erste Album, das ausschließlich von Cat selbst produziert wurde. Es ist tiefgründig, funky und reich
an Bedeutungsebenen

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."

Over the past several years, The Voidz, led by Julian Casablancas, have been releasing various singles and performing unique residencies in different cities, all to critical acclaim. Now, they are returning with their highly anticipated third album, "Like All Before You."



This new release marks a shift back to album mode, showcasing The Voidz's unique sound that blends different styles into an immersive experience. The band will be promoting it in fall 2024 and 2025

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.
Since the early 1960s Clement ‘Sir Coxsone’ Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends – Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.
From its inception Studio One had been at the forefront of every major development in reggae music – ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.
Having attained such great success, by the late 1970s Clement Dodd was free to enjoy Studio One’s now firmly established supremacy in reggae music. He released a series of stunning new albums at the end of the decade by Sugar Minott, Johnny Osbourne, Freddie McGregor and others that rode the wave of dancehall and set the path of Studio One’s output for the following 25 years.
During this period, long-established artists such as Alton Ellis, Jackie Mittoo and others returned to the label, recording some of their most creatively satisfying albums with new music that both celebrated the classic sound of Studio One while continuing to experiment, push boundaries and look forward to the future.
This release celebrates this sometimes overlooked golden era at Studio One in the 1970s,1980s and beyond.

Nap Eyes' metamorpher fünfter Longplayer versammelt neun faszinierende Songs, die in den vier Jahren seit "Snapshot of a Beginner" aufgenommen wurden. "The Neon Gate" enthält klassische Themen (das unruhige Zusammenspiel von Physik und Philosophie, umherwandernde Meditationen, Selbstbefragungen, Öffnungen der Surrealität, Videospiele), aber auch Anzeichen für abweichende Impulse in Richtung nichtlinearer Abstraktion und improvisierter Komposition in Langform (was zu ihren bisher diskursivsten, dekonstruiertesten und delikatesten Liedern führt) und erzählerischer und lyrischer Formalität (einschließlich der Adaptionen von dornigen Gedichten von Alexander Puschkin und W. B. Yeats), die den Eindruck vermitteln, dass sich Nap Eyes ebenso gewandelt haben wie ihr Verständnis davon, was ein Lied ist, was es kann und wohin es gehen könnte.

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Sayle sagt: "Jeder kratzt sich, jeder arbeitet die ganze Zeit, und die Vorstellung von Entspannung ist es, sich zu ficken und der Realität zu entgehen. Dieses Album ist eine Flucht vor dieser Realität." Von den ersten Sekunden an, in denen eine Kabinentür zuschlägt, ein Auto aufheult und ein sackartiger Rhythmus zum Leben erweckt wird, klingt Guided Tour wie eine Band, die nach neuen Höhen strebt und vor Energie strotzt. Das Ergebnis der mehrwöchigen Aufnahmen in den Holy Mountain Studios in London mit Produzent Jonah Falco und Tontechniker Stanley Gravett fühlt sich dynamisch und einstudiert an, wie Hymnen, die sich durch Schweiß und Wiederholung in das Gedächtnis der Sinne eingebrannt haben. Harper bringt es auf den Punkt: "Wir hatten eine klare Idee, jeder Moment wurde genutzt. Wenn wir 60 sind, können wir uns vielleicht hinsetzen und einen Schlagzeugsound hinbekommen, aber im Moment geht es darum, die Dinge zu erledigen." Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität. Sayle setzt sich für diese sich entwickelnde Verschmelzung ein: "Jahrelang hatten wir, die wir aus dem Hardcore kamen, ziemlich klare Grenzen - andere Szenen waren getrennte Welten. Jetzt vermischen sich die Dinge immer mehr, wir schöpfen aus verschiedenen Quellen."

It's official! Post Malone is finally releasing his long-awaited country album. This marks his concrete foray into country music. He ensures us this isn't just a few fleeting off-hand singles. Rather, he's doubling down on his excursion into Nashville. Includes the single ft. Morgan Wallen “I Had Some Help”. A 9x diamond-certified GRAMMY® Award-nominated phenomenon, Dallas, TX artist Post Malone regularly rewrites history, blurs boundaries, and incites internet-breaking conversation with every move.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

High Roller Records, Beer Colored Vinyl, gatefold, insert

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Splatter Vinyl, 425gsm heavy cardboard cover, insert, poster

Third Man Records geben mit großer Freude das Signing des australischen Vierers The Belair Lip Bombs und die Neuauflage ihres 2023 erschienenen
Durchbruchsalbums Lush Life bekannt.
Das Album fängt ein breites Indie-Songwriting ein, das von Maisie Everett (Gitarre, Tasten, Gesang) geleitet und von einem talentierten Trio von
Musikern in Mike Bradvica (Gitarren), Liam De Bruin (Schlagzeug) und Jimmy Droughton (Bass) ergänzt wird.
Mit den bisherigen Singles „Stay Or Go“, „Gimme Gimme“ und „Say My Name“ ist Lush Life ein perfektes Album, in das sich Ersthörer vertiefen
können.
„Die Art von druckvoller, hookgeladener Rockplatte, die kaum noch gemacht wird, geradlinig im Sound, aber nehazu unangreifbar in ihrer
Konstruktion.“ The Guardian, Ones To Watch
„Energie und Experimentierfreude kollidieren auf einem aufregenden Debüt.“ **** NME

4 PROMILLE DRESCHEN WIEDER IN DIE SAITEN, SPUCKEN INS MIKRO, RUPFEN DEN BASS UND VERMÖBELN DIE FELLE! SEID IHR "BEREIT" FÜR ZEITGEIST-PUNKROCK?! Fasst genau zehn Jahre nach dem letzten Studioalbum veröffentlicht die Band jetzt ihr neues Werk "Zeitgeist", insgesamt das fünfte Album und das erste auf eigenem Label Vier Promille! 12 neue Tracks haben es auf die Platte geschafft und schon beim "Intro" wird klar, dass es hier ordentlich zur Sache geht, die Vorab-Single "Bereit", der Titeltrack selbst sowie "Lied Vom Rhein" und "Blackout" zeigen eine erstaunliche Bandbreite und Hitdichte. Dem reinen rumpeligen Oi! und räudigen Streetpunk haben 4 Promille schon spätestens mit Alte Schule 2006 abgeschworen, dennoch finden sich in ihrer Version von Punkrock, Deutschpunk oder einfach Punk immer noch derer Spuren. Die Promillos freuen sich höchstprozentig, dass es für sie unabhängig, DIY-mäßig und selbstgestaltet weitergeht! 4 PROMILLE 2024 sind Jason Kubke-Schlagzeug, Gesang - Martin Bayer-Gitarre, Gesang - Ralf (Basspromillo) Schmidt-Bass - Thomas (Pommes) Müller-Gesang, Gitarre. Neben Album Digital und CD gibt's natürlich LP, klassisch schwarzes Vinyl sowie limitiert in farbigen (u.a. Rot-Schwarz Marbled) Varianten.

4 PROMILLE DRESCHEN WIEDER IN DIE SAITEN, SPUCKEN INS MIKRO, RUPFEN DEN BASS UND VERMÖBELN DIE FELLE! SEID IHR "BEREIT" FÜR ZEITGEIST-PUNKROCK?! Fasst genau zehn Jahre nach dem letzten Studioalbum veröffentlicht die Band jetzt ihr neues Werk "Zeitgeist", insgesamt das fünfte Album und das erste auf eigenem Label Vier Promille! 12 neue Tracks haben es auf die Platte geschafft und schon beim "Intro" wird klar, dass es hier ordentlich zur Sache geht, die Vorab-Single "Bereit", der Titeltrack selbst sowie "Lied Vom Rhein" und "Blackout" zeigen eine erstaunliche Bandbreite und Hitdichte. Dem reinen rumpeligen Oi! und räudigen Streetpunk haben 4 Promille schon spätestens mit Alte Schule 2006 abgeschworen, dennoch finden sich in ihrer Version von Punkrock, Deutschpunk oder einfach Punk immer noch derer Spuren. Die Promillos freuen sich höchstprozentig, dass es für sie unabhängig, DIY-mäßig und selbstgestaltet weitergeht! 4 PROMILLE 2024 sind Jason Kubke-Schlagzeug, Gesang - Martin Bayer-Gitarre, Gesang - Ralf (Basspromillo) Schmidt-Bass - Thomas (Pommes) Müller-Gesang, Gitarre. Neben Album Digital und CD gibt's natürlich LP, klassisch schwarzes Vinyl sowie limitiert in farbigen (u.a. Rot-Schwarz Marbled) Varianten.

Reissue auf bandeigenem Label Vier Promille: Das Debütalbum der Promillos - der Klassiker von 1999 - 25 Jahre später und zehn Jahre nach der letzten Auflage wieder als limitierte (Auflage 500) LP! Gelb-schwarz marmoriertes Vinyl mit doppelseitigem Insert. Seit 2012 nicht mehr mit dabei, hat der damaliger Gitarrist und Sänger Volker Grüner mit Gründung von 4 PROMILLE - erst als Projekt, dann als volle Band - mit dem Schreiben dieser Songs gezeigt wie "Ausstieg", Läuterung oder Kehrtwende praktisch aussehen kann. Ein langer Finger in Richtung jeglichem braun-rechtem Gedankengut und die Augen nach vorne gerichtet, bewies dieses Album wie Oi!-Punk musikalisch und textlich klingen kann. Damals schon und wie auch heute noch dabei: Pommes (Thomas Müller) und Basspromillo (Ralf Schmidt). Ein Meilenstein der Oi!/Streetpunk-Szene! 12 gut produzierte Oi! Punk Songs der Düsseldorfer. Mal kräftiger, mal ruhiger, mal mit männlichen, mal weiblichen Vocals, immer abwechslungsreich. "Es sind einfach gute Lieder die die Leute berühren. Sie zum Mitsingen und Spass haben, vielleicht auch zum Nachdenken bringen. Natürlich lässt man das ein oder andere Lied im Proberaum auch gerne mal weg, weil man es seit 20 Jahren auf jedem Konzert spielt. Aber wenn wir auf der Bühne stehen und die Leute schon beim ersten Akkord von ,Ich werd mich ändern" ausrasten, kriege ich immer noch eine Gänsehaut. Dafür machen wir das alles." Thomas 'Pommes' Müller zum 20. Jubiläum von Im Nächsten Leben/Tough Magazin, 2019

Fast 30 Jahre alt sind sie nun. Und zeitgleich zum runden Bandjubiläum begeht die Band auch ein rundes Alben-Jubiläum: Studioalbum Nr. 10 ist entstanden im Hertzwerk @ Chefrockstudios in Hamburg unter den bewährten Fittichen von Olman Viper, hört auf den freundlichen Namen "Wenn der Teufel anruft". Stets ohne Helm, ohne Gurt und ohne Sicherheits-Schlüppi: Da kommt nix aus der Dose, da ist alles von Hand beim Vollgasrockzirkus von der Waterkant.

Nach neun veröffentlichten Alben waren die Mitglieder der legendären schwedischen Metal-Band Astral Doors entschlossen, ein 10. Album zu machen, ein Jubiläumsalbum. Das Album wurde "The End Of It All" genannt, als Reflexion darüber, wie die Welt heute aussieht und um irgendwie zu sagen, dass dies das letzte Album von Astral Doors sein könnte.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

. By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the elusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.

Ardor or Entropy is Nzʉmbe's first album in nine years, following 2015's Titubeo. During this period, philosopher and artist Miguel Prado's sonic output has included synthesizing a sonic Gernika with his band HARRGA alongside Dali de Saint Paul, and crafting a hallucinatory sci-fi mythology for Lucrecia Dalt's latest album, ¡Ay!."
Rewiring the conventions of chamber electronics and postmodern songwriting. Here it is presented A Spanish' song cycle on love and cosmological redshift. The distant echo of Tristan‐and‐Iseult's smoking gun where lovemaking becomes an enactment of entropy, a transformation between the dynamic and the static, the human and the fetish, illustrating the inevitable decline into chaos and stillness.
A beached singing voice (beautifully processed by Rashad Becker) against electro-acoustic backdrops ranging from the caustic, viscous to the bonecrushingly dense worldbuilding shared by HR Giger, Ballard and Pynchon. Transcendental and psychotic vistas that boldly examine human fragility and the surrounding abyss of godlessness.
---------------------------------
Artist: Nzʉmbe Title: Ardor or Entropy Label: Drowned By Locals Catalog Number: DBL31LP Year: 2024
Side A:
Mirror Of TauromachyZone Of AlienationGreat Vitreous TactKarman Vortex Street
Side B:
Serpentine LinesThermocline Anake and EntropyErgosferaAsymptopia
Composed, arranged and recorded by Miguel Prado Casanova
Vocal processing by Rashad Becker Piano on "Anake and Entropy" by Michael PisaroPipes on "Mirror Of Tauromachy" and "Ergosfera" by Wojciech RusinAccordion on "Asymptopia" by Alfredo Costa MonteiroTrumpet on "Asymptopia" by Ruth Barberán Electric bass on "Asymptopia" by Dominic LashElectric guitar on "Asymptopia" by Daniel BennettPercussion on "Asymptopia" by Alex Lázaro
Premixed by Miguel Prado Casanova Mixed, Mastered and Vinyl cut by Rashad Becker
Artwork photos by Lúa Ribeira © all rights reserved, 2024Design by Giovanni Murolo
This album is dedicated to Patricia
Special thanks to Patricia Fraga, Dali de Saint Paul, Mattin, Lucrecia Dalt, Laith Demashqieh, Lúa Ribeira, Rashad Becker

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Pianist Aaron Parks returns to Blue Note—where he released his influential 2008 album Invisible Cinema—with Little Big III, the third studio album from his acclaimed band Little Big featuring guitarist Greg Tuohey, bassist David Ginyard Jr., and drummer Jongkuk Kim. Co-produced by Parks and Don Was, the collective’s concise, accessible writing and vibrant, empathetic playing elevate the band’s powerfully modern, post-genre concept for improvised music in the 21st century.

Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach - informed by island life, marine folklore and musical tradition.

Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly (Quade, AD93) takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family’s island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for ‘old house’), released on Odda Recordings.

“Seanteach explores the nature of my relationship with Ireland, and Connemara in particular, where my dad’s family is from,” explains Connolly, speaking on a long-form work that blends new compositions on traditional Irish fiddle with ambient electronics and evocative field recordings.

“It explores how the island of Maighinis became an almost mythological space for me, growing up in England - we would spend every summer there, but it felt equally present for me when we were back in the UK, a sort of mental solace that I found through music especially.”

Each track on the album is a reflection of aspects of that relationship to island life - where physical features intersect with mythology. Such as, ‘Boreen’, named after a colloquial term for rural byroads sometimes shared with otherworldly neighbours. ‘Aisling at Sea’ draws on the primal, unstoppable momentum of the water, while the folklore of ‘Immram’ reflects on generationally-kept tales of marine bravery and supernatural accomplishment.

“The compositions often sit at the fraying edges of memories I’ve inherited from my own experiences, that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place.”

Tying these worlds together is the presence and memory of Connolly’s ‘Mamó’ (Irish for grandmother), Bríd. Despite passing during Connolly’s childhood, this “larger-than-life character” shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret.

“Even at a young age I sensed a sadness emanating from her. Through a series of unfortunate and fortunate circumstances, she found herself leaving Ireland and settling in Boston like so many others. Under the impression she was an illegal immigrant in the US she didn’t return to Ireland for decades.”

‘Between the Shoreline and the Gorse’ channels her early childhood, born to a large Catholic family in the island’s ‘Seanteach’, and cast adrift from her old life - a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home.

“It’s something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It’s a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere ‘un-experienced’, and to a certain extent, fictionalised.”

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Following the success of their debut full-length album and it's lead track "Dragonfly" (which tracked 300,000 TikTok creations, and over 10 million streams) the brothers recruited Jared Solomon (Sza, Remi Wolf, Teezo Touchdown) to produce their sophomore LP, Coyote, You're My Star. Melding vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age, the new LP has already been met with rousing approval, with airtime on the Zane Lowe show on Apple as well as playlist covers like Spotify's State of Jazz. The band is also set to tour North America and Europe across festivals and headline shows.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

AMPUTATE präsentieren auf ihrem neuen Album "Abysmal Ascent" rohen und ehrlichen Death Metal ohne Schnickschnack.
Diese Veröffentlichung ist fast schon ein Statement für die Kunst selbst.
AMPUTATE sind mit diesem Album den konträren Weg zu vielen anderen Bands gegangen. Ihr vorheriges Konzeptalbum beschäftigte sich mit dem Thema künstliche Intelligenz, aber dieses Mal sind die Songs alle individuell und behandeln verschiedene, meist düstere Themen.

Die New-England-Extrem-Metal-Band Escuela Grind wird am 18. Oktober ihre neue LP „Dreams on Algorithms“ über MNRK Heavy veröffentlichen.
Aufgenommen im GodCity-Studio in Salem, Massachusetts, mit Produzent Kurt Ballou und gemastert von Nick Townsend (Dr. Dre, Betty Davis), ist die
Platte der mit Spannung erwartete Nachfolger von Escuela Grinds gefeiertem Debütalbum „Memory Theater“ aus dem Jahr 2022, das von der New
York Times als „ein Opus der Extremität“ gefeiert wurde.Escuela Grinds Reise durch die strafende Klanglandschaft des Grindcore war alles andere als
status quo. Ihr Mantra der Förderung von Inklusivität und Akzeptanz innerhalb extremer Musikgemeinschaften steht als Pfeiler des Fortschritts in
einer oft abgeschotteten und verschlossenen Subkultur. Sängerin Katerina Economou verbreitet den Geist und die Grundüberzeugungen der Band auf
jeder Bühne, auf der sie auftritt - sie verstärkt die Stimmen der Unterrepräsentierten und verbindet die Menschen auf einer Ebene, die tiefer geht als
die Musik.Dreams on Algorithms ist ein klanglicher Beweis für die Ideologien der Band - eine knüppelharte Darbietung von progressivem
Extrem-Metal, der die Genregrenzen überschreitet.

Die 1967 gegründete Band TEN YEARS AFTER zählte in den späten sechziger und frühen siebziger Jahren zu den innovativsten und erfolgreichsten Vertretern der britischen Progressive- und Rock-Szene. So veröffentlichte die Formation, der zwei Jahre später mit ihrem Auftritt beim legendären Woodstock-Festival der internationale Durchbruch gelang, acht hochgelobte Studioalben. Die jetzt erhältliche LP - gepresst in weissem Vinyl - präsentiert
Klassiker und Hits der Band wie ‘I‘m Going Home’, ‘I Woke Up This Morning’ u.v.m.

Laura Jane Grace & the Mississippi Medicals - das brandneue Rock-Quartett unter der Leitung von Grace und mit Matt Patton von den Drive-By
Truckers (Bass), Mikey Erg von The Ergs (Schlagzeug) und Paris Campbell Grace (Gesang, Perkussion) - freuen sich, die Veröffentlichung der Debüt-EP
Give An Inch ankündigen zu können.
Aufgenommen von Patton bei Dial Back Sound in Water Valley, MS, läutet Give An Inch ein neues und aufregendes Kapitel für die Emmy-nominierte
Künstlerin, Autorin und Aktivistin ein, indem sie auf die verschiedenen Talente dieser erfahrenen Musiker zurückgreift. Angeführt von den Singles „All
Fucked Out“, einem Stück, das der Rolling Stone als „eine staubige Plane aus treibendem Country-Punk“ bezeichnete, und dem ausgelassenen „Karma
Too Close“.

Third Man Records geben mit großer Freude das Signing des australischen Vierers The Belair Lip Bombs und die Neuauflage ihres 2023 erschienenen
Durchbruchsalbums Lush Life bekannt.
Das Album fängt ein breites Indie-Songwriting ein, das von Maisie Everett (Gitarre, Tasten, Gesang) geleitet und von einem talentierten Trio von
Musikern in Mike Bradvica (Gitarren), Liam De Bruin (Schlagzeug) und Jimmy Droughton (Bass) ergänzt wird.
Mit den bisherigen Singles „Stay Or Go“, „Gimme Gimme“ und „Say My Name“ ist Lush Life ein perfektes Album, in das sich Ersthörer vertiefen
können.
„Die Art von druckvoller, hookgeladener Rockplatte, die kaum noch gemacht wird, geradlinig im Sound, aber nehazu unangreifbar in ihrer
Konstruktion.“ The Guardian, Ones To Watch
„Energie und Experimentierfreude kollidieren auf einem aufregenden Debüt.“ **** NME

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

LA SACREE GROLE is a tale by the TAMERANTONG company, set to music by LUDWIG VON 88.

TAMERANTONG! is a theatre company based in Mantes-la-Jolie, Paris-Belleville and Saint-Denis that puts on shows with children and young people from these neighbourhoods.

LUDWIG VON 88, road companions of the great hours of alternative rock (Bérurier Noir, Parabellum...) is also the only rock band capable of rhyming in ‘ong’.

TAMERANTONG! had long been plundering their repertoire for their shows. In retaliation, the Ludwigs decided to compose the soundtrack to ‘La Sacrée Grôle’: a Gallic legend told and sung by twenty kids from Paris-Belleville.

In the heart of the land of the Arvernes, reigns a valiant free people. Their village lies on the edge of a dreadful forest where no one ever ventures. But the time has come for all the peoples of Gaul to enter the fearsome forest and set off in search of the Sacred Pole!

La Sacrée Grôle premiered at Paris-Belleville and was performed from 1996 to 1998 in Paris (Café de la Danse, Palace, Trianon, Café Éphémère / Les Halles), Mantes-la-Jolie, Briançon, Rouen (Festival Débarquement Jeunes) and Montreal/Quebec.

This record, released for the first time on vinyl by the Archives de la Zone Mondiale label, includes 7 previously unreleased songs by LUDWIG VON 88.

Ricky Razu is one of Belgium's new breeds of rising house producers who come from a vast background of jazz, boogie, hip-hop and disco and through the amalgamation of these various styles, he is quickly making a name for himself.

Ricky's swing is quite unique, he has been putting his own twist and interpretation on the regular house track by joining the dots between yesterday’s golden era classics and today’s club bangers. As one of Houseum's mainstays, he has also built up a solid presence behind the decks, becoming a regular player in the Belgian and international house scene. During the past years, Ricky’s prolific output has also allowed his sounds to propagate all over the globe, which culminated in a worldwide repertoire of gigs from Europe to the US, South America and Asia. The man has also garnered support from the likes of Jeremy Underground, Bellaire and Subjoi, to name a few, and with his new projects in the pipeline, the future is looking bright for him.

Get transported to a parallel dimension with the title track of Ricky Razu’s new EP ‘Cosmic Waves’. This spacey yet club-oriented track blends floaty arpeggios with a dark rumbling bass. But what truly sets "Cosmic Waves" apart is its sharp and distinct lead melody, guaranteed to linger in your head long after the first listen. In Ricky’s known style, the arrangement sounds complete yet never over-loaded, resulting in a track that is effective and easy to love.

The origins of Oreo Jones forthcoming third studio album, to be released September 20th, 2024, started in 2019 while on an extended trip to Antananarivo, Madagascar supported by an Andy Warhol Foundation grant. The myriad sights and sounds of this journey greatly inform the sonic tapestry of this new album.Jones teamed up with indie producer Ben Lumsdaine (Durand Jones/Wishy/Varsity/Barrie) to build songs from the ground up sending demos back and forth from across the country. Jones also recruited composer and vocalist Hanna Benn to add heavenly harmonies sprinkled throughout the album. The result is a sound that is intentional and immediate, earthly and ethereal. Each song is a chapter in a narrative crafted with purpose.Emotionally, the album emerges from a place of much needed rest and peace. During the recording process, Jones' uncle passed away unexpectedly. Over the past few years, he has found himself processing grief and loss within his immediate family of elders. Nephew is an ode to celebrate the ancestors who shaped the artist he is today.

THE CHEFS tauchten zum ersten Mal auf der ,Vaultage 79" Compilation aus Brighton auf. Zwischen 1980 und 1981 veröffentlichten sie drei Singles: zwei auf dem legendären Brightoner Label Attrix, eine auf Graduate Records. John Peel und andere Radio DJs spielten ihre Songs zu Tode, was schließlich in BBC Radiosessions mündete. Nachdem THE CHEFS zu SKAT geworden waren, brach die Band auseinander. Helen McCookerybook sollte als HELEN AND THE HORNS Erfolge für sich verbuchen und ist heute noch solo aktiv. Diese Doppel-LP mit 26 Tracks von THE CHEFS enthält sämtliche ihrer Aufnahmen auf Attrix und Graduate Records, dazu bisher unveröffentlichte Songs des verschollenen Debütalbums, und Songs aus den Radio Sessions für John Peel und Richard Skinner. Dies sind die Wurzeln von C-86, von Indiepop und vielem mehr. Nebenbei ist ,Records&Tea" auch noch ein wirklich gutes Album.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

Ella Raphael ist mit einer erstaunlichen Stimme gesegnet, voller Wärme und Emotionen; sie ist einnehmend, wie ein alter Freund, der Geschichten erzählt und spinnt. Mad Sometimes ist ihr Debütalbum, das über Fire Records erschienen ist.Aufgewachsen in London, umgeben von Geräusch, hörte sie erst Ella Fitzgerald, Sarah Vaughan, Etta James, während sie Queen, den Beatles und die Stones aus der Sammlung ihres Vaters begegnete. Ellas musikalische Reise setzte sich in Australien fort, wo sie viele andere Musiker traf und schließlich mit Möchtegern-Piraten segelte, die am Bug ihres Bootes sangen und beschlossen, dass Musik der richtige Weg für sie ist. Begeistert von der Musik, die sie auf weiteren Reisen durch die USA und Europa entdeckte, verfeinerte sie diese eklektische Mischung und fügte Love, Serge Gainsbourg, Karen Dalton, Vashti Bunyan, Catherine Riberio And Alpes, die ursprünglichen Meister des Tropicalia, exotische 50er-Jahre-Gitarren und die esoterischen Klänge der mittleren/späten Beatles hinzu. Sie hat einen Sound perfektioniert, der so vielfältig ist wie ihre Einflüsse und Erfahrungen, eine Musik, die so schön ist wie ihre Umgebung. Sie nutzt die Feinheiten und subtilen Nuancen des Klangs, um sowohl Licht als auch Dunkelheit in ihre Musik zu bringen. Auf ihrer ersten LP entsteht ein Klang aus einer stilvollen Mischung aus Lap Steel, Mandoline, Guiro, Congas, Synthesizern, einer Shruti-Box und Streichinstrumenten, die von Ella, Eyal Samson, Uzi Ramirez, Ron Ephrati, Guy Mintus und Amir Sadot gespielt werden. "A timeless, Tropicalia-tinged day-dream" Gorilla Vs Bear Goldfarbenes Vinyl (mit DLC) oder Digi-Sleeve-CD!

Edgar Allan Poes zeitlose Poesie, gelesen von Künstlern, Schriftstellern, Dichtern, Musikern und Magiern, im Dienste des Werks und auch im Gedenken an einen großen Freund und Weggefährten auf den musikalischen Wegen, Hal Willner. Kramer hat eine eklektische Liste von Stimmen zusammengestellt, um den alten Worten eine neue Vision zu geben. Mit dabei Joan As Police Woman, Edgar Oliver, Thurston Moore, Britta Phillips, Lydia Lunch, Rick Moody, und andere. Die von Kramer geschaffene Musik, die jede Lesung begleitet, lässt das Licht auf den Interpreten scheinen und poliert den Raum zwischen der Poesie und der Aufführung. Den Abschluss des Albums bildet eine Archivaufnahme von Allen Ginsberg, der ,The Bells" lebendig vorträgt. Die unbegleitete Lesung vom Juni 1981 ist ein Auszug aus seinem Studienkurs ,Expansive Poetics" an der Naropa School of Disembodied Poets in Boulder, Colorado.

50 frequency and amplitude modulated sine waves describing a landscape / Trigram for Earth. Trigram for Earth, by Flora Yin Wong, is inspired by traditional eight-sided Pakua mirrors and the trigrams inscribed on each of their edges. The function of the mirrors is to show the nature of reality as being composed of mutually opposing forces and modulate them. Here, energies seem to be manipulated to guide and direct our listening, lost in a maze of sound, diffracted to the point of merging with the artist's own listening, through her memories, her obsessions, the fragments she carries within her. Flora Yin Wong invites us to embark on a multi-faceted investigation of sound, a journey through the meanders of liberated sonic forces, an auscultation of her own listening and a portal, at last, ajar to a fragmented and forever mysterious inner world.In his work '50 frequency and amplitude modulated sine waves describing a landscape,' Sébastien Roux applies his approach to algorithmic composition to the observation of the natural world, bringing the sound of the sea and the song of birds into the electronic domain, transmuting them into each other through a slow process of gradual modulation. Exploring the abstract space of pure sounds between two naturalistic tableaux, Sébastien Roux offers us a fascinating meditation on the world of synthesis, revealing, with an economy of means and great formal elegance, the magic of sonic simulacrum (deepl propose simulacra, mais là je suis pas assez calé_) and the strange beauty of the artificial, in a gesture that is ultimately as poetic as it is musical.

Back in print! Dead Moon's final album remastered with VERY radically improved sound and reissued here for the first time ever. 'Dead Ahead' is filled with all time great rockers and ballads. Some of the legendary band's heaviest work. The world's greatest rock band's swan song is not wasted - dark corridors are explored and conquered. Remastered from the original tapes with amazing new dynamics and the murk reduced to the noise layer it was meant to be.

Berlin-based duo TRAINING team up with bassist Ruth Goller for their new album ‘threads to knot’. Frenetic free-jazz is sitting next to post-rock riffs and looming microtonal atmospheres.
The record was written in a truly collaborative effort, adapting the concept of ‘cadavre exquis’, the popular drawing game: One person would start writing a few notes before passing it on to the next, revealing only the very last note, with which the composition continues.
TRAINING is comprised of drummer Max Andrzejewski and sax player Johannes Schleiermacher, whose last album ‘Three Seconds’ saw them collaborate with Deerhoof guitarist John Dieterich.
Ruth Goller, who has been hailed by the Guardian for her 'thunderous bass-guitar hooks' has made waves this year with the release of her second album 'Skyllumina'. She’s also known as a live performer with Kit Downes, Alabaster de Plume, Melt Yourself Down among others.

"Adult Swing" is the first full album as KCT (aka Karel Cuelenaere from Black Flower, John Ghost and Ping O.D and is immediately one that will put the trio firmly on the map.



Karel Cuelenaere, in the wake of Black Flower, John Ghost and Ping O.D. has gained numerous compliments from the international press. Louder Than War (UK) talks about his "incredible keyboard virtuosity" and OOR (NL) labels him as a "descendant of Keith Emerson". The Standaard (Belgium praises his "decisive contribution to the sound" of the aforementioned bands.
While Karel is now mainly perceived as a keyboardist within the prog-, rock- and hybrid jazz scene, with KCT - abbreviation of Karel Cuelenaere Trio - he resolutely opts for the grand piano. He is assisted by double bass and drums, respectively performed by Cyrille Obermüller and Gert-Jan Dreessen, both highly respected musicians in the Belgian jazz scene.
The trio is stylistically anchored in the Belgian jazz tradition, building on the work of Aka Moon, Octurn and Jozef Dumoulin, among others, and incorporates the atmosphere of 'saudade', a kind of melancholy that Karel got to know on a tour in Brazil and recognizes in the recordings of pianist Keith Jarrett during the 60s.

"Adult Swing" is the first full album as KCT and is immediately one that will put the trio firmly on the map.

"Redrawing pop music’s borders in the early 21st century, London trio Sugababes occupy an important
place in the history of British music. Formed in London in 1998, the group seamlessly combined
mainstream pop with cutting-edge R&B, soul and dance music – and they added to this intoxicating mix
on 2002’s Angels With Dirty Faces, an album which brought avant-garde electronic music to the masses.
This landmark second album from Sugababes includes the era-defining ‘Freak Like Me’, which, helmed
by underground producer Richard X, rode a sample of Tubeway Army’s ‘Are “Friends” Electric?’ all the
way to the top of the UK charts in the spring of 2002. Led by the guiding hand of the Xenomania
production team, ‘Round Round’ repeated the trick, paving the way for Angels With Dirty Faces to clean
up that summer, going triple-platinum and scoring Sugababes the 2003 BRIT Award for Best British
Dance Act.


"

"Among the great British bands celebrated during National Album Day, cult Liverpudlian act The La’s are in a league of their own: unlike all the other groups they share shelf space with this year, they are the sole group to have released only one album. Issued in October 1990, their self-titled debut has been hailed as one of the greatest albums of all time by NME, and was also placed at No.13 in Rolling Stone’s 2021 run-down of the 40 greatest “one-album wonders”.

Selling 300,000 copies in the US and 500,000 copies at home, The La’s has become an indie touchstone.

No shortage of that reputation rests on the single ‘There She Goes’, a reissue of which hit No.13 in the UK, on its way towards racking up double-platinum sales figures. With their album now making a return on “coke-bottle green” wax, The La’s have more than secured their place in British music history.




"

Handys raus, Laptops raus, kommt alle raus - Morgen Teuer Töten macht Sommerschlussverkauf im Winter. Die Band schallt mit ihrem Debütalbum "Not Available" den alltäglichen Wahnsinn direkt in eure Ohren. Mit bissigen Songtexten stürzen sich Morgen Teuer Töten auf die belanglose Trendgesellschaft, bis diese schreiend vor der Supermarktkasse liegt. Versucht nicht sie zurückzuhalten: Sie müssen hier vorbei. Ihre Songs sind so ohrwurmverdächtig, dass man sie nach dem Konzert noch unter der Dusche mitgrölt - und so schamlos, dass sogar die Seife rot wird. Es gibt gute Musik, es gibt Scheißmusik und es gibt Morgen Teuer Töten. Das Album erscheint als LP in kleiner Auflage von 300 Stück als reines Indierelease. Das Album kommt mit schwarzem Vinyl, schwerem Coverkarton, Textblatt in LP Größe und Download Link.

Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

Der Thrash-Anteil wurde bis fast auf null reduziert, dafür
zeigte man schonungslos, dass man in den vergangenen
Monaten erneut Fähigkeiten dazugewonnen hatte. Die damals
immer noch junge Band spielte auf einem Niveau, welches
im europäischen Heavy Metal beispiellos war. Nur in Amerika
lieferten Watchtower oder Dream Theater ähnlich kompliziert
arrangiertes Material. In guter Rush Tradition findet man auf
„Steps“ einen langen Song auf der A-Seite (25 Minuten!),
während die B-Seite fünf Tracks und ein Outtro aufweist. Das
Stück „Corridors“ ist ein weiteres Beispiel für die unfassbaren
Fähigkeiten der jungen Musiker. „Steps“ ist insgesamt
eigenständiger als „Life Cycle“, welches noch stark an
Watchtower erinnerte. Durch den Gesang von Franz Herde, der
beim Nachfolger nicht mehr zu hören war, schließt sich hier
das erste Kapitel von Sieges Even.
Aufgenommen wurde „Steps“ 1990 in den Lakeside Studios
von Charlie Bauerfeind, der als Produzent heute bekannt ist.
Trotz des anspruchsvollen Materials war das Album ein Erfolg.
Heute findet man „Steps“ in vielen Listen, wenn es um die
wichtigsten Prog-Metal- oder Progrock-Alben geht. Es war seit
den Originalpressungen auf Steamhammer/SPV nicht mehr
erhältlich! CD und LP wurden separat gemastert, damit jedes
Medium den bestmöglichen Klang entfalten kann.

Andrea Ferlin provides 4 beautiful cuts for new HAZE release. Modulated stabs, rumbling pads, sliding baseline make OPIA a great tool for main hours, while ORGO is perfect for after-hours due to complex percussion polyrhythms and delayed sound structures. B-side flips the mood with DORF. B2- Morning Sunshine makes you feel like classic orchestra will start an interlude in a minute. Vinyl Only.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Vormann Leiss', mit dem 2007 die enge Zusammenarbeit mit Stammproduzent Moses Schneider begann, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

- Ltd LP: (180g, inkl. Textheft im 7" Format)

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Das Island Manöver'', mit dem 2007 die enge Zusammenarbeit mit Stammproduzent Moses Schneider begann, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

- Ltd LP: (180g, inkl. Textheft im 7" Format)

In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.

For his brand-new project Blues Experience, Jake Shimabukuro joins forces with his friend, drumming legend and founding member of Fleetwood Mac, Mick Fleetwood, to create a fresh new take on the Blues. The result is something exhilarating and unique, as these two titans of their instruments reinterpret some of the greatest songs written by some of their favorite songwriters in a Blues setting. Since gaining prominence in the early 2000's, ukulele marvel Jake Shimabukuro has mesmerized audiences with his innovative and dynamic style, taking the instrument to dizzying new heights. Over a dozen solo albums, Shimabukuro has shown a knack for moving effortlessly between genres, sometimes in the same song. Shimabukuro has played the world's most venerable venues, from The Hollywood Bowl to Lincoln Center to the Sydney Opera House and collaborated with some of the world's greatest musicians, including Yo-Yo Ma, Bela Fleck, Jimmy Buffett, Jack Johnson, Ziggy Marley, Sonny Landreth, Billy Strings, Willie Nelson and Warren Haynes. In 2021 he was nominated by President Joe Biden to serve as a Member for the National Council on the Arts.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

25 years ago, this record sprang on the scene— a record holding a voice impossible to draw comparison to, and lyrics and stories alien to anything that resonated from The Opry’s stage beforehand. Mary was the first openly queer person to play The Opry, and for us at KRS, this record encapsulates things new, exciting, bold, while being an absolute standout to what the realm of Americana has to offer. This is an authentic American experience, cliches weren’t needed. Mary is a legend. This record will always feel new, exciting, and bold.

"Omar Sosa's 88 Well-Tuned Drums, the soundtrack to the documentary film of the same name, is the first solo vinyl release for multiple-GRAMMY-nominated pianist and composer Omar Sosa. Presented on limited edition transparent red vinyl, these newly-remastered tracks highlight Sosa's spectacular range, from soloist to big band leader and everything in between. A must-have for fans and a perfect introduction for the uninitiated, this career-spanning LP captures a Cuban music icon in some of his best and brightest recordings. While Sosa's globetrotting sound defies easy genre categorization, fans of ambient, fusion, Latin jazz, salsa and world music will discover both freshness and familiarity in Omar Sosa's 88 Well-Tuned Drums.

(This is a 2024 Record Store Day release)"

'Whiplash' is the first album recorded by bôa in over twenty years, following the incredible reemergence of 'Duvet'. The album is a collection of melody-driven narratives, leaning into the emotive and relatable lyricism which resonates so well with fans. “Whiplash” is very human and uniquely universal — reflecting on the tides of time and relationships, which can refer to past entanglements, deep-rooted friendships, or even the abruptness of social change around us today. Newer fans craving more of the timeless warmth that has made “Duvet” an enduring hit will find that in abundance here, while decades-long fans will feel as if they’re welcoming an old friend back into the fold.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

After the breakthroughs of 2020’s wistfully lush Fear of Death, and 2022’s High School, whose tales of nostalgia were never quite as distant as they seemed, the multi-hyphenate comedian and songwriter Heidecker has reached a new peak with Slipping Away, his warmest and fullest record to date. While all of his albums are concept records to some degree, this one tells a story on a larger scale, offering an imagistic framework that allows for some of his brightest melodies, heaviest themes (the feeling of before the fall and after), and most direct and vulnerable lyrics.

When the world — and his previous band Star Tropics — crumbled in the early days of the pandemic, Chicago's Loren Vanderbilt began rebuilding himself through song. Daydreaming to the chime of IRS-era R.E.M., Felt, The Railway Children, New Order, and 90's staples like Ride, Pale Saints and Slowdive, he fell backwards in time through records as a means of escape. To break away from the present and embrace the nostalgia of musical eras gone by, Loren formed Humdrum — a band built around his favorite elements of dream-pop, indiepop, shoegaze, and new wave. On his debut album, "Every Heaven," Loren establishes himself as a talented songwriter and master of melody across 10 tracks brimming with jangly guitars and lovelorn vocals—all punctuated by the pulse of a driving beat. A deeper listen reveals a juxtaposition between the album's carefree melodies, and its sobering truths about the life, loss, and the questions of being a queer 30-something artist. With "Every Heaven" Humdrum has presented 10 songs that speak to life's dynamic moments. And they can't wait for you to hear them.

Rubblebucket’s new album explores one particular year from the band’s past known as the Year Of The Banana. Frontwoman Kalmia Traver has a personal practice of naming each year since 2011. However, in 2015 (Year Of The Banana) Kalmia’s romantic relationship with Rubblebucket co-founder Alex Toth fell apart, and that year was spent peeling off psychological layers in search of the sweetness that would allow the friendship, and the band, to continue. “People get obsessed with the albums that were never finished because the band couldn’t stay together,” Kalmia says. “But Year Of The Banana is the album that did get finished.” So Rubblebucket is celebrating 15 years as a band with a record about the year it almost ended. Rubblebucket is still a through-and-through art rock dance band, virtuosic experimental musicians with a pop sensibility along the lines of Talking Heads, Prince, or Kate Bush. But there’s nothing retro about Rubblebucket’s sound; they’re mixing electronics with real instruments, especially horn sections (Alex plays trumpet, Kalmia sax) and they feel at home in the same universe as Caroline Polachek, SZA, or Chappell Roan. Listening to Year Of The Banana, it’s impossible to overlook how joyful it is, how full of hope. The album speaks to the power of transforming and adapting relationships in a time when the world needs it most. The album has a transforming effect, inspiring us to face ourselves and radically keep loving each other, assuring us that the unpredictable process has potential to feel as free and sweet as peeling a banana on the dance floor.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Norwegian pianist Eyolf Dale’s lateral approach to composition is given full range on his beautiful new album. Featuring his trio with the Norwegian Radio Orchestra, conducted by Edition Records artist Japanese maestro Miho Hazama, The Space Between Two Notes is a nuanced investigation of sound and space.

Eyolf Dale, the renowned Norwegian pianist and composer, releases his latest album, The Space Between Two Notes, his 7th album released under Edition Records. This new album elegantly reimagines selections from Dale's celebrated trio albums, Beingand The Wayfarers, with rich orchestral arrangements featuring the Norwegian Radio Orchestra, conducted by fellow Edition artist, Miho Hazama.

The Space Between Two Notes explores a mesmerising blend of jazz and classical music, harmoniously integrating the intimatedynamics of a trio with the grandeur of an orchestra.

The album is an exploration of musical intervals—the nuanced spaces between notes—which shape the auditory landscapes of Dale’s compositions. This approach sets it apart from traditional jazztropes, which often emphasize vertical structures, like chords and melodies. Dale, however, crafts his music horizontally, focusing on the relationships and distances between sounds.

Eyolf Dale’s approach to music is profoundly influenced by his rich musical upbringing and an early fascination with the varied textures of sound: from the intricate works of Pat Methany to the vibrant tones of Norwegian jazz. This diverse background informs his unique musical language, which is not confined by genre but instead resides in the intriguing liminal space between established musical traditions.

The album features not only Dale's pianistic finesse but also the empathetic interplay of his trio, including Audun Kleive on drums,whose sensitive accompaniment ensures the music's purity of expression. As Eyolf points out "One of the most challenging aspects, in my opinion, of blending classical and jazz elements lies in the delicate balance of the drummer's cymbals.” Together,they achieve a unity of sound that transcends the sum of its parts, further enriched by the poised bass playing of Per Zanussi andthe orchestral collaboration. This synergy allows the music to unfold naturally, each note and silence carefully articulated to communicate more than mere melody.

Limited Edition Orange Coloured Vinyl.

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

The dB's 1981 second album & Power-Pop classic is available once again & newly remastered. Pop Dose noted “Repercussion is essential listening. It is necessary. It is pure and magnificent. It is a triumph...listen to it and absorb it.” Uncut stated “..this is The dB's' finest, the tension between the two writers' styles reaching its quasi­ psychedelic peak.” 9/10. The album was produced by Scott Litt (later a long-standing R.E.M. producer) giving it a fuller, more modern overall sound. The dB’s signed with the British label Albion and released 1981’s Stands for deciBels and 1982’s Repercussion, which became instant favorites among the fans, critics, and college-radio programmers fortunate enough to hear them. But the fact that the albums were available only as high-priced, sparsely distributed imports kept the band from reaching a wide audience in those pre-Internet days. The band will be touring select US cities in the Fall of 2024 and Winter of 2025 to support the first-ever US vinyl releases of the band's debut and Repercussion.

My Life, Americana trailblazer Iris DeMent’s sophomore album, cemented her legacy as one of the nation’s greatest living songwriters. Dedicated to her father, Patrick Shaw DeMent, who died in 1992, the album illustrates DeMent’s razorsharp songwriting on originals like “Sweet Is the Melody,” “No Time to Cry” and the title track. The songs “are jewels of universal longing” (Chicago Tribune) and “it is nearly impossible to exaggerate the beauty of these recordings.” (AllMusic). The album is being officially reissued for the first time for its 30th anniversary, pressed on maroon color vinyl and remastered by Mike Westbrook of MW Audio. The lacquer is cut by renowned mastering engineer Kevin Gray and is pressed at the state-of-the-art audiophile facilities at Citizen Vinyl in Asheville, North Carolina. This pressing is limited to 2,000 copies worldwide.

In collaboration with Back Lot Music and Monkeypaw Productions, Waxwork Records is proud to present MONKEY MAN Original Motion Picture Soundtrack by Jed Kurzel. Monkey Man is a 2024 action-thriller film directed, co-written, and produced by Dev Patel in his directorial debut.

The film follows "Kid", an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a monkey mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city's sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Jed Kurzel is an award winning Australian singer-songwriter-guitarist and film composer. His scoring credits include The Babadook, Alien: Covenant, Overlord, Assassin's Creed, and others.

Waxwork Records proudly presents MONKEY MAN Original Motion Picture Soundtrack as a deluxe double LP featuring Blood Red, Black, and Metallic Gold A-Side B-Side colored vinyl, new artwork by Sajan Rai, exclusive director and composer liner notes, heavyweight gatefold packaging, and an 11"x11 insert.

Back in print, pressed on canary yellow vinyl!

Hailing from the wintry heartland of Minneapolis, the Trashmen achieved cult immortality with a passel of landlocked surf anthems and reckless garage-rock gems, best exemplified by their immortal anthem "Surfin' Bird," two and a half minutes of inspired, unhinged mayhem that's never been equaled. But "Surfin' Bird" is just the tip of the iceberg of the 1964 album that bears the song's name. The only longplayer that the band released during their original lifespan, Surfin' Bird demonstrates that the Trashmen were no novelty act or one-hit wonder, but a brilliant, original outfit who filtered their R&B and surf influences through their own cheerfully demented sensibility to make some of their era's most reckless, uninhibited rock 'n' roll. ll outfit.

Don Heffington was a musician's musician. Starting his professional career in the late 70s and early 80s as a part of Emmylou Harris' Hot Band and seminal alt-country pioneers Lone Justice, Heffington went on to a session career that included work with Bob Dylan, Dwight Yoakam, The Jayhawks, Dave Alvin, The Wallflowers, and many, many more. Heffington was also a prolific songwriter, and here, his colleagues and friends pay loving tribute to those songs in a benefit for the Sweet Relief Musicians Fund (Heffington passed away in 2021 from Leukemia). Artists such as Jackson Browne, Fiona Apple, Buddy Miller, Dave Alvin, Watkins Family Hour, Peter Case, and others interpret Don's quirky songs. In the words of Jackson Browne: "I think of (Don) as inhabiting the same Los Angeles as Warren Zevon, Lowell George and Tom Waits.”

The 1980 space disco hit you probably never heard of. Now officially remastered including new stunning edits by Peaking Lights and Korkut Elbay. Picture sleeve with an outstanding painting by Antonia Freisburger.

'Inside' with loads of synths and some vocoder on top is a wild jam that is propelling more and more into a frenzy during its course.

Following the orginal is a dancefloor-edit by Korkut Elbay which puts the vocal part into focus. Korkut Elbay, part of the Cómeme camp and an integral part of Cologne's electronic music scene for over 20 years, crafted an edit in its purest form.

On the flipside Aaron Coyes of the California-based duo Peaking Lights stretches out the original and reaches higher grounds with his stomping rework. He gently adds some more keys and puts you into a trance with his soothing melodies. Now dance!

But what's the story behind this unearthed gem stone? In the late 1970s a marketing company owner faced an increasing competitve market and wanted to work indepently from the professional studios which were charging high rates for commercials back then. The solution was to build his own sound studio. So he set one up in the basement of his company in Saarbrücken, Germany. He hired a studio operator and a composer that got quite a reputation in the local scence back then and besides daily job routines 'Inside' was created.

San Francisco native Eric Luttrell announces his highly anticipated studio album ‘Life at Full Speed’, released on October 11 on Anjunadeep. First breaking into electronic music as part of the OWSLA-affiliated trio The M Machine, Eric embarked on his solo journey in 2016 with the acclaimed 'Need You' EP. This was followed by Anjunadeep favourites such as the 'Generate' EP and 'Intergalactic Plastic', championed by Annie Mac as the Hottest Record In The World. His musical progression continued with the launch of two studio albums, 'Intro Clouds' and 'Lucky Ones', as well as the captivating trilogy EP series 'Music For My Memories'. Luttrell's body of work has amassed over 100 million streams to date. Written over the past two years, ‘Life at Full Speed’ represents a new chapter for Eric. Becoming a father last year profoundly shifted his perspective on life and its purpose; and the album represents the ethos of embracing life to its fullest and seizing every moment. Featuring thirteen meticulously crafted tracks, "Life at Full Speed" embodies Luttrell's signature blend of indie-laced house music, characterised by uplifting melodies, intricately woven synths, and infectious grooves. A standout feature of the album is Eric’s integration of his own vocals on some of the tracks such as “When I First Met You” and “Go”. Additionally, Canadian artist Molly Moonwater joins forces with Eric on the single 'Something Right', enhancing its euphoric tone. Lead single ‘Make U Happy’ comprises a playful piano, signature Luttrell synths and a catchy top line culminating in an irresistible, feel-good summer anthem. This track sets the tone for the album, offering a glimpse into its uplifting vibe. Among the album's tracks are previously released singles ‘Sunshine’, ‘Space’, and ‘Sunrise Song’, which have collectively amassed over 3.5 million streams and received acclaim from BBC Radio 1 and SiriusXM Chill.

Lenparrot's third studio album, La Conversation, is a reflective exploration of human experiences, performed in French and recorded in a renovated sheepfold in the Corbières region. The album marks a shift from Lenparrot's previous work, embracing the French language more fully after experimenting with it in earlier tracks. Influenced by personal milestones such as becoming a father and coping with loss, the album was born from creative collaboration. In March 2022, Romain Lallement (Lenparrot) joined artists Nina Savary, producer Astrobal, and multi-instrumentalist Vincent Guyot to compose this album, which came together quickly in the inspiring rural setting. The result is a harmonious blend of introspective and uplifting themes, capturing the essence of life’s joys and challenges.

After ‚`till things ghosts‘ Jonas Landwehr returns to Serial Sound with a club focused EP. This project is mainly based around the idea of local collaborations with two Cologne based artists. ‚Coeln Flowerz‘ consists of three tracks where as the Dembow infused, stripped down Techno tool ‚Low Tide‘ with the focus of a heavy bassline is functioning as the main track of this EP. ‚Sittin‘ Right’ was created from the same approach as ‚Low Tide’ but in collaboration with the Cologne based RnB singer ‚Bay B Hazel‘ to give this one a new perspective and house vibey like twist. 4 Sure closes this project and is a collaboration with the Cologne based MC ‚bienniap‘. This Reggaeton & Perreo infused track shows a more moody and simplified side carried through the interaction of the vocalist, deep chords and hypnotic percussions.

Originally released following Deep Purple’s split in 1976, David Coverdale’s first two solo albums will be available on vinyl for Rocktober 2024, newly remixed and presented as Whitesnake records. Featuring future Whitesnake lead guitarist Micky Moody, and produced by Deep Purple’s Roger Glover, these long out of print albums are a key part of the David Coverdale and Whitesnake story.