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Juan Ramos is back on BLESSYOU for another round of club specialised tracks. Starting off at a solid 126BPM on the A side, "D2" comes in with a threatening drive bound to cause ruckus on the floor, tripped out vocals used in percussive manner, gung ho drum samples intertwined with a very motivated bass line. "D3" takes a less synthetic turn with the presence of strings and congas juxtaposed with euphoric female vocals. "Collide" slows down and dives into more industrial sounds but could also very well be the background soundtrack to a leather daddy belly dancing instructional video. Overall a pieced up melange of precisely placed elements, reflections of his deepened experiences on Berlin club floors over the last decade, an effortless display of his studio prowess is well at work. No regrets. Mixed by his "Green Vision" project partner in crime, Trent.

"For me this is a testimonial. When I was growing up an important part of church service was people having the opportunity to stand up and give public testimony on their trials, tribulations, and triumphs. After the celebratory atmosphere that followed MICHAEL I was reminded that tribulations never cease, but God is always with me and this is a testimonial of my tumultuous times, my trials, and my continued triumph in spite of doubt, outright hate, and fear. I am here to speak to and with my fellow sinners and Saints.” - KILLER MIKE



MIchael & The Mighty Midnight Revival - Songs For Sinners And Saints", a ten song collection that provides a bookend to the 3 time GRAMMY winning MICHAEL era and puts the speculation about the aftermath of February 4 to bed. Killer Mike states "This is the epilogue to MICHAEL. This is what comes after Feb 4th. I had a year to live with MICHAEL and realized I had more I wanted to do with this sound before moving on."

“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.

The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.

"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.

"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.

Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.

Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.

The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

After over a year spent in a slight creative slump in a crumbling terraced house in Tottenham, Jam Baxter rang his label boss while heavily intoxicated to request they fly him to Bangkok forthwith, to rejoin forces with '...so we ate them whole' producer and engineer, Chemo. After an initial period of understandable hesitancy, the flights were booked and Baxter found himself suddenly regurgitated from the belly of a Jet Airliner into the magical and surreal surroundings of Mansion 38.

Mansion 38 is the name of the apartment block in Bangkok in which Baxter wrote the entire album, all the while going slowly insane on a heady mix of local liquor and multicoloured pharmaceuticals. The album is very much a product of the month he spent there in a dream-like state, becoming a delusional half-man half- goat figure to be admired and feared in equal measure.

Despite not being the wholesome and creative Zen retreat he anticipated and most probably needed, the backdrop of seedy late nights and impulsive tropical hedonism has resulted in some of his most intriguing and honest work to date. Chemo once again provides the haunting and evocative canvas that is all too perfect for Baxter's colourful imagery and dark psychedelic storytelling, blending a huge array of influences into an album that flows seamlessly from start to finish.

With comrades Lee Scott and Trellion flying to Bangkok on a whim to record their contributions and with videos shot in Bangkok, Hanoi and London this is truly an international project born of grand ambition and abject madness.

Mansion 38 is clear proof that after several years and multiple solo and group projects, Jam Baxter is still angrily shoving the boundaries of hip hop and lyricism further outward.

Sam Grant, Gitarrist von Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, macht mit dem zweiten Album seines verrückten Psych-Projekts Rubber Oh dort weiter, wo er mit dem Debüt "Strange Craft" 2021 aufhörte. Kaleidoskopische Melodien schweben über dichte Rhythmen und dunklen, schweren Riffs, die in eine weite cineastische Landschaft ausbrechen. Ein faszinierender Klangraum zwischen Leichtigkeit und Härte mit für Chor und Streicher komponierten Arrangements. Feat. Rozi Plain, Voka Gentle und Me Lost Me & Ceitidh Mac. Limitierte Auflage auf rotem Splatter-Vinyl.

Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.

Following last year’s Cyber Sunshine single and Vantage Point EP, plus the former’s expansion into a Deluxe Remix Pack EP just this Spring, trusty Dutch trance traders Match Box are miraculously back with their fourth consecutive glistening Goddezz release. This time, it’s a double offering whose boundless celestial charm again centres around the star we owe it all to: think of High En3rgy as the sunset daydream and Clint’s remix the sunrise epiphany.

Spanning 8 minutes and 7 seconds that slip by all too soon, High En3rgy is a lucent, dreamlike journey not easily forgotten. Layering a faintly melancholic and hauntingly simple melody over a nonetheless pulsating bassline, it accomplishes something rare: an emotive marrying of the wistful and the rousing. The effect is a plucky, heartening sound that walks a tightrope between nostalgic reflection and enduring anticipation. It’s delicate yet driving - the gorgeous sonic expression of a sunset daydream that could leave you leaning either way.

Whether you emerge from that musing trance with a lump in your throat or a fire in your belly, Clint’s remix is the impossibly ideal next step. Faithfully refracting its originator’s sound whilst instantly supercharging the mood from spirited to high-spirited, its giddy rhythm and buoyant-turned-bouncy beat inject pure, immediate, perhaps emergency enlivenment. It’s more than fun, playful or invigorating: it’s irresistibly, heroically stirring - and once its sunrise synths come scorching over the horizon, you’re passing through gleeful exhilaration into sublime elation, with no hope of holding back any tears.

Akons erstes Studioalbum, ”Trouble”, wurde am 29. Juni 2004 veröffentlicht.
Mit Hits wie ”Lonely”, ”Bananza (Belly Dancer)” und ”Locked Up” erreichte das Album Platz eins der
Albumcharts in den USA, Großbritannien, Frankreich, Deutschland, Dänemark und Australien.
In den USA wurden 1,6 Millionen Exemplare verkauft, was Akon in den Ruhm katapultierte und ihm einen
Platz im Guinness-Buch der Rekorde als weltweit meistverkaufter Künstler für Master-Klingeltöne sicherte!
Zur Feier des zwei Jahrzehnte alten Jubiläums wurde ”Trouble” zum ersten Mal seit seinem Debüt
wiederveröffentlicht.

"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.

FFO: Melvins, Big Business, Torche, Karp, Lightning Bolt, Red Fang. Super limited vinyl, first press is transparent-y orange. Based in Sheffield, POHL is a stunning and brutal noise rock duo, featuring former Hey Colossus axeman Will Pearce on guitar/vocals, and drummer Dr Linda Westman of Toronto-based death metal two-piece, Old Hope. This July the band releases their debut album Mysteries; a sonic tome which draws as much from MF Doom as it does doom metal. It’s a swirling, cosmic onslaught of heavy motorik riffs and offhand musings about everything and nothing in equal measure. New single ‘The Whale’ summons the glorious thunder pop of Torche, the pithy lyricism of Karp and the DIY derring-do ethos of Guided by Voices. As guitarist/vocalist Will Pearce explains: “I suppose you could say that Mysteries is an album about grief. How we live with grief, and how we overcome it. When you’re trapped in the belly of the beast, and all seems lost - how do you come back from that? All I can say is that sometimes you eat the whale, and sometimes the whale eats you." Pearce, who played with Hey Colossus on their 2019 album Four Bibles and 2020’s Dances/Curses is thrilled to be teaming up once more with former bandmates Joe Thompson and Chris Summerlin and their Wrong Speed Records imprint. Recorded at the band’s own Cool World studio and mixed by serial collaborator and producer Wayne Adams, Mysteries is many things, often all at the same time. Veering from biblical allusions to fragmented Burroughsian cut-ups, it is at once mystical, profane, sacred, and scatological. Profoundly stupid, perhaps? Or just stupidly profound… either way, Mysteries demands your attention

Possessing a sound drawn from the deep, oaken belly of a whiskey barrel, The Commoners are a five-piece roots/blues Rock outfit hailing from Toronto, Canada. They offer a unique blend of tried and true musical elements, infusing their sound with high-energy riffs, soulful vocals, and rich harmonies that collectively transport the listener on a journey through an authentic Southern-style rock experience.

* Brand new outing from dub producer I David who takes us on a dubby journey on the Orient Express into Istanbul and further into Anatolia.
* The track titles are mostly belly-dancing related which gives to clue to the content.
* Featuring an instrumental and three dub excursions of the same tune.
* For fans of The Rootsman, Muslimgauze etc.
* 300 copies only

It’s a tough call which is the bigger cult classic, the Tank Girl movie or its accompanying soundtrack, but on balance, we’d have to go for the soundtrack. Yeah, the film had a cast composed of some of the most colorful characters (Iggy Pop, Ann Magnuson) and character actors (Malcolm McDowell, Ice-T, and of course the almighty Lori Petty!) in show biz. And, its dystopic, resource-starved desert setting, intense action sequences, and lead female character mark it as a feminist (albeit funnier) precursor to Mad Max: Fury Road. But check out the soundtrack’s bona-fides: assembled by Courtney Love herself, it features a Who’s Who of ‘90s female rock including Hole, Björk, L7, Veruca Salt, and Belly among others. Plus, it even has tracks that were exclusive to its release, like a unique version of Devo’s “Girl U Want,” “Mockingbird Girl” by The Magnificent Bastards (a side project of the late Scott Weiland of Stone Temple Pilots), and a duet of “Let’s Do It, Let’s Fall in Love” between Joan Jett and The Replacements’ Paul Westerberg. In short, if there ever was a score that needs to be on wax, this would be it. We’ve done it right, too, with a gatefold jacket featuring the trademark comic book art and stills from the film, and a neon yellow vinyl pressing limited to 750 copies!

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond’s predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic’s Paul Masvidal, the trio get somewhat psychedelic on the album’s eponymous closing - and most expansive - track, which also features Vola’s Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON’s anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

To celebrate the 15th anniversary of "Born in 69"", the album is reissued for the first time as a double vinyl! It features collaborations with The Sugarhill Gang, Shabba Ranks, Kevin Lyttle ant the renowned Awell. (Re)Discover the worldwide hits "La La Song", "Love you no more", "New new new" and "What a wonderful world"

«First Rays Of The New Rising Sun» wurde im April 1997 veröffentlicht und war das erste Album, das unter der direkten Supervision der Familie Hendrix entstand. Mit siebzehn Songs, deren Entstehung von März 1968 bis zu Jimis letzten Sessions in den Electric Lady Studios im August 1970 reicht, markiert das Album das letzte grosse Werk des innovativen Künstlers Jimi Hendrix. Es beinhaltet "Dolly Dagger", "Angel", "Ezy Rider" und "Freedom". Diese Veröffentlichung ist eine neue, komplett analoge Ausgabe, die von Bernie Grundman aus den originalen 1/4"-Mixes gemastert und auf schwarzes 140-Gramm-Vinyl gepresst wurde.

Ice Cream Vinyl

Since the release of their debut studio album Do Hollywood (on 4AD) in 2016, The Lemon Twigs_the New York City rock band fronted by brothers Brian (27) and Michael D'Addario (25)_have waved the same revivalist torch as Alex Chilton and his Big Star crew, working to prove that archaic music from the `60s and `70s can still be relevant in digital world. Alongside peers like Foxygen and Drugdealer, The Lemon Twigs have explicitly documented a synchronistic blend of contemporary narrative motifs, old-school recording techniques, and flawless, consistent attitudes collaged from various crucial stages of rock 'n' roll. After a whirlwind 2023, the D'Addarios are continuing the momentum of their own evolving vision and voice, distilling a history lesson of baroque and power pop into A Dream Is All We Know (out May 3 on Captured Tracks). Garnering the top-to-bottom critical acclaim the brothers have long deserved, their 2023 LP Everything Harmony was spearheaded by an impressive string of singles, including "Corner Of My Eye" and "Any Time of Day." It was the kind of record that put all of Brian and Michael's talents on display, be it the former's multi-instrumentalist gifts or the latter's boyish, explosive pop-rock charisma and eye for engineering and vocal layering. But A Dream Is All We Know is not the acoustic, nylon string-based project that Everything Harmony was. Instead, it's a return to the form the Lemon Twigs first introduced on Do Hollywood_an electric guitar-centric, anthemic assemblage of, really, everything the band does great. These two companion records are an immediate example of a band capitalizing on their fire-in-the-belly appetite to make tunes that boast ubiquitous chemistry. A Dream Is All We Know is grandiose yet grounded; meticulous, yet wild and glowing. Made with analog precision, the album was finished in the immediate months after the band completed Everything Harmony during a vibrant, prolific period split between three studios on separate coasts. A Dream Is All We Know is a profoundly dense and charged album, rife with string arrangements and a sonic thesis statement that has quaked through phases of glam, conceptualism, baroque, and Mustang-loud, stone-cold rock `n' roll for more than half-a-century. A Dream Is All We Know sounds like it's lived a thousand lives already.

A nice boxset with 3 LP and a poster. Including all the greatest blues artists: LIGHTNIN" HOPKINS, JOHN LEE HOOKER, SCREAMIN" JAY HAWKINS, BO DIDDLEY, MUDDY WATERS, HOWLIN" WOLF, T-BONE WALKER, B.B KING...

A post-modern mixtape of 12 microgenres created by The Numero Group. Bending the rules of the compilation with a selection of songs bound by their soaring spirit and adventurous approach, REACH is inspirational living for algorithmic times. The only LP guaranteed to save your life during humanity's apocalyptic demise.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

"My favorite singer in the place was Karen Dalton. She had a voice like Billie Holiday's and played the guitar like Jimmy Reed." - Bob Dylan // Karen Daltons Capitol-Debüt aus dem Jahr 1969 ist endlich wieder erhältlich! Light in the Attic freut sich, eine brandneue Ausgabe dieser herzzerreißenden und bluesigen Einführung in die berauschende Welt von Dalton und ihrem tiefen Brunnen voller musikalischer Geheimnisse zu präsentieren. Weltmüde und vom Blues erfüllt, war Daltons unübertroffene interpretatorische Tiefe und emotionale Bandbreite wie keine andere. "It's So Hard To Tell Who's Going To Love You The Best" wurde 1969 für Capitol aufgenommen und reihte sich ein bei klassischen amerikanischen Songwritern wie Lead Belly, Fred Neil und Tim Hardin. Diese Neuveröffentlichung ist die endgültige, rein analoge Version von Daltons umwerfendem Debüt, mit neu gemastertem Audiomaterial von den Original-Capitol-Mastern, dem Original-Artwork von 1969 in einem erweiterten Klappcover, ungesehenen Fotos des Albumfotografen Joel Brodsky und einem Essay, in dem Karens Freunde und musikalische Mitstreiter zu Wort kommen, vom Albumproduzenten und Bassisten Harvey Brooks bis zum Musiker Peter Stampfel von den Holy Modal Rounders. - Features new all-analog mastering by Kevin Gray at Cohearent Audio, direct from the original analog tapes - Pressed at RTI - Includes liner notes by Brian Barr - Featuring unseen photos by legendary photographer Joel Brodsky - LP housed in an expanded gatefold jacket

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.

Error Subcutaneo was born under the sweltering sun of Santo Domingo, Dominican Republic, but their project portrays the colder, more urban side of life in the Caribbean, where cacophonous violence and Cold War monoliths collide with dreams of a better tomorrow The duo take elements of hip- hop, modular electronics, island syncretism, and bebop to twist and distort contemporary narratives on music composition, representing the greater movement of Latin American resistance directly from its epicentre Temporada Ciclonica is a recollection of alibis from a quenched island imaginarium. Palm trees dance in sync with the gales, an omen of the upcoming hurricane season. Pictographic technologies seek refuge in time's embrace, as eerie scents of petrichor and blood fill the corridors beneath the temple steps.

The cyclone's ravaging beauty and destruction bring rain, fertility and life to the land, an allusion to the cyclical nature of creation. Masters of musical past ride the storm's eye, a semiotic double- entendre on the spinning nature of the vinyl medium. A pupil glimmers from the dark, a kid rubs its belly in the womb. Press: Truth and Lies - review "a challenging but exhilarating journey through the minds of two young artists who's deep knowledge of local and international music places no harness on their creativity. Raw and instant, these boys look at the world as it is and let its contradictions flow into their creations. 9/10" Received airplay on BBC Radio 6 Music (Gilles Peterson), BBC Radio 3 (The Late Junction - Wolf Eyes' Mixtape) + The Lot Radio NYC - Marco Wibel - Darker Than Wax

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

REPRESSED 2x12" now with bonus download code! Heavy, heavy tunes! Studio One instrumentals are the foundation of Reggae. These rhythm tracks became the basis for all Dancehall as countless artists and producers re-versioned these classic Studio One instrumentals.

REVIEWS: "Sheer volume of output from Studio One is astonishing, combined with the fact that the quality of the recordings never seem to diminish. These instrumentals touch on ska, rocksteady, dub, and begin to hint at the reggae sound of the late '70s. Each instrumental is perfect and has the feel that it could hardly be improved upon. Soul Jazz has once again put together a wonderfully rounded collection of music from Studio One" - All Music.

"I think if a nuclear family could have a soundtrack, ours would be the Soul Jazz comp Studio One: Scorcher. I wouldn't say it's the best record ever made, but if I heard it every single day for the rest of my life, I'd be 100% cool with it." DJ. & "Compilation of essential & rare Studio One instrumentals" - Hard Wax.

"Studio One Scorcher is the latest of these, collecting instrumental tracks spanning the years from the late 60's rocksteady vogue through the onset of dancehall and digital rhythms in the early 80's featuring The Skatalites, trombonist Don Drummond, Pablove Black and others." - Billboard.

Entombed between the approaching war machine, Berlin's squat metal underground and the corrosive electronics broadcast from the Hague's bunker network, Chaosy's "Bad Magic" marks his first on the label, with tracks pulled together from equipment left behind in Ukraine and resurrected in makeshift studios while on the road.

Across the LP's eight tracks, the record dials into this modern day horror and occult activity from throughout the ages, flipping between cave dwelling techno, breakbeat, gnarled Ukrainian rap and wails found between the gaps in the machine. A full blown sonic assault into the belly of the beast.

The whole of the UK mourned when Chas Hodges passed away in September 2018, and the parade of stars (including Eric Clapton, Joe Brown, Gary Brooker, Ralph McTell and Albert Lee) who performed at the tribute concert in December that year is testament to the regard in which Chas and his musical partner Dave Peacock are held.

Originally released on the duo’s Rockney record label in 1981, the “Mustn’t Grumble” album includes their two biggest hit singles – “Ain’t No Pleasing You” (# 2) and “Rabbit” (# 8) – as well as “I Miss Ya
Girl” and “Turn That Noise Down”.

This special edition has been mastered from the recently-found original ¼” production masters, and now also contains a newly-created inner sleeve. This features all the lyrics, photos, singles packshots and a brand new note by Dave Peacock himself about the writing and recording of the album.

CauseAndEffect is the fourth studio album by the Norwegian singer-songwriter Maria Mena. The album is described as very personal and honest and was written based on the events from Maria’s past. As she explains herself: “I wanted to look back as opposed to every time I’ve done an album where I’ve kind of just written songs as life goes along.” Cause And Effect was very successful in various European countries, including Norway, the Netherlands, Germany, and Switzerland. The album features four singles, including the massive hit “All This Time (Pick-Me-Up-Song)”.

Cause And Effect is available as a limited edition of 1000 individually numbered copies on translucent green and black marbled vinyl, housed in a gatefold sleeve and includes an insert with lyrics.

Lukid's first solo album in 9 years, following several releases as one half of Rezzett and 3 EPs as Refreshers.

Discrepant proudly presents the Vinyl edition of Lebanese trio Malayeen. Malayeen is the project of Lebanese musicians Raed Yassin (Keyboards, Turntables & Electronics), Charbel Haber (Electric Guitar & Electronics) and Khaled Yassine (Darbouka, Percussion). Born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, Malayeen disassembles and re-configures the work and style of the iconic guitarist innovative take on Arabic music. The final result makes for an original and unique update of Khorshid & belly dancing inspired songs from the past. Over the course of 7 compositions, appropriately named after Khorshid and famous belly dancers from the Arabic diaspora, the three musicians' varied backgrounds and techniques collide and coalesce in an experimental yet magical fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. A unique LP featuring the combined talents by key players of the Lebanese avant-garde. The Malayeen LP edition is released by Discrepant in collaboration with Lebanese exploratory label Annihaya effectively combining East and West musical strains of thought as well as conclusively deconstructing and displacing this particular form of 'popular' music. Design by Studio Safar S.A.L. Comes with full color poster painting by Omar Khouri Special vinyl one time pressing to 500 copies. "Uplifting, beat-driven pieces, often melodic, definitely Arabic, with destabilizing touches from external sounds, sound manipulations, and textural plays. The 17- minute 'Samia' is a roller-coaster ride culminating in a dizzying solo/duo between Yassine's darbouka and a darbouka track from a record played by Yassin. Great stuff. Monsieur Délire

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

On his third album Comité Hypnotisé let you belly flop into his eleven chambers of the Danza Del Piri-Piri: expanding the feral and contagious universe he started to build a lifetime ago. Levitating and shimmering a glistering way through deep old skool 70's sitar vibes and jitterbug grooves. This boogieman aka the Millionaire-mind and part of the Evil Superstars has carved some hot smoked out bass and organ flared cuts on wax, ready to never leave you again. Whether it is with woodchopped kazou sounds stretching into hazy sunshine desire or dazzling basslines blending with interstellar and stuttering kick drums: the Danza Del Piri-Piri flip-flops and slams into a wiggly relentless sonic future.

FFO Sven Wunder, Ennio Morricone, Khruangbin, Flying Lotus, The Meters, Parliament, Edan, The Gaslamp Killer.

Comité Hypnotisé is the brainchild of Tim Vanhamel, frontman of Millionaire and Evil Superstars, two of Belgium's most famous alternative rock bands. In 2013 Tim started creating solo music that only got released in 2021 on his first solo album through the Belgian eclectic Cortizona label