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Profile 1
KONISHI yasuharu
Band leader, songwriter, arranger and producer of the now disbanded Pizzicato Five (1985- 2001). Although having 2 successful world tours and 5 international albums under his belt, with fans ranging from London’s Karminsky Experience to Karl Lagerfeld, many of his fans know him as a DJ, spinning in Tokyo’s hotspots such as Shibuya’s ‘Organ Bar’. He tours regularly throughout Japan and abroad. In the Jackson 5 Remix Album, his remix ‘I want you back (readymade 524 mix)’ received an extraordinary amount of national radio play.
The remix album itself has scored healthy rankings in major record stores. In 1998, his own project ‘Punch the Monkey!’ (in which he remixes the theme tune of a popular Japanese cartoon series ‘Lupin the Third’) sold over 700,000 records, and this, some say, began Japan’s remix rush. His achievements truly invaded the mainstream when in 2000, he produced the No.1 single ‘Oha-Rock’ which became a social phenomenon in itself. Most
recently, he set up his own record label, ‘readymade international inc.’ from he which he plans to release new exciting solo works.
His talents also embrace film and photography and he is well known as a director in promotional videos, shows and advertisements. T-shirts and original goods which Konishi personally designed are sold in select shops such as BEAMS of Shibuya.
He is also a writer having regular columns in various magazines, and has also written several books. A collection of his essays have been published under the title ‘Kore wa koi de wa nai’ (’This is not love’
)
Profile 2
IKEDA masanori (Mansfield)
Began his DJ career in London, 1991, while working in Soho’s Soul Jazz Records. After becoming resident DJ at ‘Blow-Up’ in London’s Wag Club, he has toured the country and the rest of Europe. With his friends Karminsky Experience and Gentle People, he has also organised numerous club events, compiled CDs and produced radio programs. Returning to Japan in 1997, as the DJ with the rarest records in the East, he immediately made his name Djing at many popular events up and down the country. He is recognised for rocking dancefloors on a global scale having completed a very well-received European tour in 2000.
Apart from his DJ work, he has contributed remixes for Konishi Yasuharu’s ‘Punch the Monkey!’. His solo releases include his mix CD series ‘Spin Out’ , ‘Spin Out 2’ (V2 Records Japan). His albums ‘6 Complexions of Mansfield’ and ‘It’s a mans’s man’s field’ (readymade records) released under his alias Mansfield have established his name as a sound creator. He is expecting to release a new album from readymade international early 2002. This
is the DJ/composer that everyone’s talking about.

This brand new deluxe edition of "Bag Talk", the acclaimed 2019 collaborative album by Pink Siifu and Yungmorpheus, is a masterful expansion of the duo's underground classic. Originally celebrated for its gritty beats, sharp lyricism, and boundary-pushing creativity, the album saw a first deluxe release in 2022, but with this one the duo is taking the original project to new heights, featuring six brand-new, unreleased bonus tracks that deepen its raw, introspective vibe.

From soulful loops to hard-knocking drums, the chemistry between Siifu and Yungmorpheus shines even brighter on these exclusive tracks, offering fans a deeper dive into their rich sonic world.

This brand new release features 6 brand new bonus tracks, new artwork by artist Alina, and has been mastered for vinyl by Davide "Bassi Maestro" Bassi for enhanced listening experience!

19 Songs in 31 Minuten, das sind im Schnitt 1,631578947368421 Minuten pro Song. Klingt erstmal viel, aber wenn man abrundet sind es nur noch 1,6 Minuten pro Song. Es geht wie immer erratisch zur Sache: Gleich zu Beginn und ganz am Ende verneigen sich Chefdenker vor den Beach Boys ohne diesen willkürlich gesteckten Rahmen mit Surf-Content zu füllen. Der Song "Schweine im Weltall" handelt überraschenderweise nicht von Elon Musk, sondern beantwortet mit waschechtem FUN-Punk die Frage ob Kunst heutzutage um jeden Preis politisch sein muss. "Schnubbi" ist ein schönes, aber auch trauriges Lied, andere Leute haben auch Probleme in "Die schwere Kindheit der künstlichen Intelligenz", "Impfen und Würstchen" läutet endlich eine angemessene Aufarbeitung der Corona Jahre ein. "Was soll bloss aus dir werden" ist ein Erziehungsratgebersong ohne Faktencheck, "Lass die Sau raus" beleuchtet die lächerliche Kulturkampftechnik des absichtlichen Missverstehens. Musikalisch gibt es zwischendurch immer wieder Wellness Passagen, ein bisschen Bossanova oder hier und da Stadionrock. Sepp Herberger würde sagen: Die LP ist rund und die Spielzeit dauert 31 Minuten.

19 Songs in 31 Minuten, das sind im Schnitt 1,631578947368421 Minuten pro Song. Klingt erstmal viel, aber wenn man abrundet sind es nur noch 1,6 Minuten pro Song. Es geht wie immer erratisch zur Sache: Gleich zu Beginn und ganz am Ende verneigen sich Chefdenker vor den Beach Boys ohne diesen willkürlich gesteckten Rahmen mit Surf-Content zu füllen. Der Song "Schweine im Weltall" handelt überraschenderweise nicht von Elon Musk, sondern beantwortet mit waschechtem FUN-Punk die Frage ob Kunst heutzutage um jeden Preis politisch sein muss. "Schnubbi" ist ein schönes, aber auch trauriges Lied, andere Leute haben auch Probleme in "Die schwere Kindheit der künstlichen Intelligenz", "Impfen und Würstchen" läutet endlich eine angemessene Aufarbeitung der Corona Jahre ein. "Was soll bloss aus dir werden" ist ein Erziehungsratgebersong ohne Faktencheck, "Lass die Sau raus" beleuchtet die lächerliche Kulturkampftechnik des absichtlichen Missverstehens. Musikalisch gibt es zwischendurch immer wieder Wellness Passagen, ein bisschen Bossanova oder hier und da Stadionrock. Sepp Herberger würde sagen: Die LP ist rund und die Spielzeit dauert 31 Minuten.

In der Musik von Chase Petra ging es schon immer um Wachstum: Erwachsen werden, über sich hinauswachsen, die Erwartungen anderer satt haben. Auf ihrem zweiten Album wirft das Trio aus Long Beach, Kalifornien, erneut die existenziellen Fragen auf, die die lange, unvorhersehbare Reise des Lebens durchziehen. "Lullabies For Dogs", der Nachfolger von "Liminal" (2018), wechselt zwischen zeitloser Melodik (wie das düstere "Two Nights In New York" und das hypnotische, akustisch orientierte "Icarus") und unermüdlicher Energie (wie "Centrifugal Force" und "Bread And Circus", die mit der Unberechenbarkeit der frühen Panic! At the Disco kollidieren) – und etabliert Allen, Drummer Evan Schaid und Bassistin Brooke Dickson als einen der geschicktesten Acts der Emo-Szene. Kirschrotes Vinyl.

HotWax are a band set on experiencing life at its most intense. In the past two years, the Hastings-via-Brighton trio – comprising Tallulah Sim-Savage (vocals/guitar), Lola Sam (bass) and Alfie Sayers (drums) – have toured the world over, clocking up over 150 dates, including shows with Royal Blood and Frank Carter, and major festival appearances at Reading & Leeds and All Points East. Out of all this comes debut album Hot Shock (due March 7 via Marathon Artists), a record of adrenaline-jolted anthems about abandoning fear and leaping boldly towards the future.

HotWax worked with an all-female production team at the prestigious RAK studios, Catherine Marks (Boygenius, Wolf Alice) and Steph Marziano (Hayley Williams, Let’s Eat Grandma), as well as additional recording with Stella Mozgawa of Warpaint in Joshua Tree, California.

These songs were made to be played to a crowd, loud and with abandon. But there’s also a beating pulse of vulnerability underscoring the album. It’s an honest, moving sentiment sure to propel HotWax towards becoming the UK’s next big crossover rock act – and beyond.

"Britain’s most thrilling and fiercely confident new rockers” - NME “they’re a total inspiration – wicked songwriting, stunning stage presence, and a sheer, raw, couldn’t-give-a-flying attitude that punches you to the gut.” - Clash

First new music from Swervedriver in over 5 years! With 2 tracks recorded with Mark Gardener from Ride and the other 2 recorded by YouTube star Rick Beato, The World's Fair EP ranks up there with the best of Swervedriver's classic early 90's EPs. First pressing is on orange vinyl!

I Was A King. For nearly 20 years they have been a warm beating heart in Norwegian music scene, reliable suppliers of perfect pop and sonic happiness. Led by Anne Lise Frøkedal and Frode Strømstad, they have come with infectious melodic strength and rich harmonies. The formula has been a classic four-piece approach to the music. Their music has been widely acclaimed by critics in Norway, as well as in the US and UK. While perpetuating the legacy of icons like The Byrds, Big Star, Teenage Fanclub and even My Bloody Valentine, they keep playing by their own rules on each release, combining music history with a modern perspective.

"Best Wishes - A Shortcut to I Was a King" collects highlights from their rich catalog, on wich they have collaborated with international figures such as Sufjan Stevens, Robyn Hitchcock and Norman Blake (Teenage Fanclub) to name a few.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

"A Blade Because A Blade Is Whole" is the latest album from London-based composer-poet-activist-improviser Alabaster DePlume, his first major work following 2022"s "Gold" and 2020"s "To Cy & Lee: Instrumentals Vol 1". The 11-song album covers all of DePlume"s musical touchstones: lush and gentle instrumentals informed by ghostly ancient folk melodies; groove-focused rhythm explorations as a bed for self-searching spoken declamations; sweeping and beautiful string arrangements (in this case by Macie Stewart) set against his trademark vibrato-infused tenor sax whispermoan.

"A Blade Because A Blade Is Whole" is the latest album from London-based composer-poet-activist-improviser Alabaster DePlume, his first major work following 2022"s "Gold" and 2020"s "To Cy & Lee: Instrumentals Vol 1". The 11-song album covers all of DePlume"s musical touchstones: lush and gentle instrumentals informed by ghostly ancient folk melodies; groove-focused rhythm explorations as a bed for self-searching spoken declamations; sweeping and beautiful string arrangements (in this case by Macie Stewart) set against his trademark vibrato-infused tenor sax whispermoan.

Sofia Kourtesis has announced that she will release her new EP Volver on 1 August via Ninja Tune. Along with the announcement she has shared lead single ‘Unidos’ which is made in collaboration with Daphni (aka Dan Snaith aka Caribou), the first ever Daphni collaboration track.

Speaking of the single Sofia says:
“Unidos is about the power and beauty of how much stronger we are together. I always admire the light and the beautiful shine of Dan, he is a hero and he is so generous without making a big fuss about it”

While Daphni says:
“Sofia sent me a demo of this track that she’d been working on and it was immediately evident that it was a massive track. To be clear, all the good ideas in this track are Sofia’s I just added some drums and pumped up the arrangement”

Speaking of the Volver EP Sofia says:
“In the Volver EP I am paying tribute to all the LGBT+ community and all the amazing trans women that I was lucky to meet through the course of the last few years. Their bravery and existence in a world full of hate and danger, they find a way to bring the lights to the most vulnerable communities, specifically those that are behind the walls of terrible corruption in the Latino America Security and Health System.”

The EP recording itself she describes - in keeping with its title - as like a Pedro Almodóvar movie: a chaotic, painful but ultimately joyful experience, as she worked across her twin homes in Germany and Peru with dramatic changes occurring all the time. Across this process Sofia was touring the world, playing bigger and bigger shows, working with local communities in Germany and South America, navigating the continued care of her mother, and even decided to throw beginning to study medicine into the mix.

This has always been what makes Sofia such a special artist - there is so much living crammed into every inch of her music. Here she builds on that, her intoxicating spirit more present than ever.

Die Grammy-nominierte Künstlerin, Produzentin und Labelchefin TOKiMONSTA bringt ihr neues Studioalbum "Eternal Reverie" an den Start. Neben der unwiderstehlich eingängigen, Samba-inspirierten Dancefloor-Hymne "Corazón / DEATH BY DISCO PT 2" ist der R&B-Tune "On Sum" mit Tokis langjährigem Kollaborateur Anderson .Paak und der aufstrebenden Neo-Soul-Sängerin und Rapperin Rae Khalil eines der Highlights. Die Stimmen der beiden Vokalisten verweben sich nahtlos in TOKiMONSTAs typische Beat-Rhythmen und üppige Synth-Akkorde und ergänzen sich gegenseitig in ihren gefühlvollen Kadenzen – eine Meisterklasse des klassischen Duetts.

The Roxies sind eine vierköpfige Punkrock/ Powerpop-Chimäre aus Berlin, die nach ihrem tollen Debüt "Don"t Wanna Dance Because I"m Told To" das 2022 auf Dirt Cult/ Family Spree erschien, jetzt ihre noch viel smartere neue Scheibe vorlegt! 12 Songs, die absolut souverän 60s Pop, Bubblegum-Vibe, RnR und 70s California Beach Punk in sich vereinen. Das hat eine dermaßen mitreißende Frische und die Songs werden so lässig runtergekloppt, dass man einfach nicht still rumstehen kann. Die Tracks fahren mit garagigen Gitarren-Licks auf, liefern poppige Harmonien, knackig groovendes Drumming und absurd coole Basshooks. Dabei werden sie auch immer mal wieder melancholisch und versprühen vor allem eine musikalische Tiefe, die wie eine Kombination aus The Nerves, Clorox Girls und B52s daherkommt. Eine britische Note on top (Kinks und Buzzcocks lassen grüßen) verdanken The Roxies wohl ihrem aus Yorkshire, UK stammenden Sänger Matthew, der regelmäßig von obercoolen Backingvox und gelegentlichen Vocal-Einsätzen von Bass-Dame Imke unterstützt wird. Ingenius stuff!

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

Repressed LP on Neon Orange Vinyl. “ESG's fusion of sweet soul and punk attitude with an intuitive understanding of dance music remains.” The Guardian “This is still funk with an alien otherworldliness the likes of which George Clinton never envisioned, stripped to its barest essentials for maximum impact.” All Music “ESG are as cool as ever.” The Guardian Pumping their way out of the South Bronx of New York in the early 80s, this rhythm and dance-punk outfit made unforgettable funk that was also unusually rooted in post-punk. This powerhouse of raw and cutting edge music ultimately made them ahead of their time. ESG enjoyed success sharing stages with PiL and Gang Of Four and have been heavily sampled as many musicians including TLC, Wu-Tang Clan, Beastie Boys and Liars.

Sopa Boba is a Belgian-Dutch electronic, modern classical project. The idea behind the form is a so-called Oratorio from the present age which unfolds a dramatc tale within a sociopolitcal framework. The compositons incorporate a neo-classical style string quartet, harsh modular sytnhs and spoken word vocals. It features Pavel Tchikov (Ogives) and G.W. Sok (The Ex, Oiseaux-Tempête).

That Moment is an adaptation of the eponymous text by Moldavian writer Nicola Esinencu. The starting point of That Moment takes place in a real fact, which happened in present-time Moldavia, where a father cut his son's finger with an axe, as a punishment for stealing a bit ofmoney from the father's wallet. From there the author combines the tale and its reality with a caustic irony, interrogating an unbridled capitalist society, where everything and everyone is for sale. The total playing-tme is 55 minutes, somewhere in between a hybrid electronic - modern classical oratorio and a concept album, with seven tracks that serve as seven chapters of an ironic and satiric story about the downward spiral of the capitalist society.

Green vinyl repress, standard single sleeve printed inner. 'The Time Has Come' is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.' Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music." Anne Briggs // Offering some of her first original compositions, 'The Time Has Come' was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. 'The Time Has Come' is a mix of Anne's own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne's playing, with sounds ranging from the breezy 'Clea Caught A Rabbit' to the terrible beauty of 'Wishing Well' - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.